UNIT-I

LESSON-1

MEANING, PERSPECTIVES AND APPROACHES TO THE STUDY OF

CULTURE

T.K. Venkatasubramanian Department of History

Delhi University

Introduction

The change that we are now witnessing through the media revolution, post-industrial

technologies and global communication networks has generated apprehensions about emergence

of a uniform, homogenised culture. A number of scholars are talking about ‘clash of

civilisations’ in the decades to come. Cultural hegemony is bound to give rise to conflicts than

those generated by the colonial economic order in the nineteenth century. What can be done to

preserve and enrich the large numbers of distinct cultures that exists today in the face of this

rapid globalisation and standardisation of ways of life? People are looking to India to see

whether this country, with its 5000 years of uninterrupted civilisation, will provide some answers

which might lead to a social harmony wherein there is respect for creative diversity. It is

imperative to learn about the meaning, perspectives and approaches to the study of culture.

Meaning

The word ‘culture’ and ‘civilisation’ first came to be used in an idealistic sense in

Western Europe from the second half of the eighteenth century. It is generally admitted that

culture is not a part of nature but it is something acquired. It is not an individual acquisition but

handed down from the past as part of a tradition. In this sense culture gets defined as the

tradition of values of self-realisation. Values are the objects of valuing, a fundamental human

activity. Valuing implies seeking, choosing and approving. At the level of human mind the

seeking becomes self-conscious and critical and its objects as well as the process of seeking

become symbolised. The expression and communication of valued experiences gives a socio-

historical actuality to the ideal process and the cultural world is created as historical tradition of

the human endeavour for self-realisation.

The familiar view which the historians tend to take is to think of culture as something

possessed by a certain society located in a certain area or age as some definable group of people.

Culture here becomes the form and achievement of a certain society, a social tradition. If culture

is thought of in terms of achievement, achievement needs definition as much as culture. The

definition of society is also equally difficult. If we define a society as a super-institution or as a

complex of institutions, what is it that is central to an institution? Institutions are centred in ideas

and habits. An idea induces an attitude. This is crucial to an institution. It is the ideas in the

light of which one appraises the institutions and also recognises the inner value of consciousness

of a society and together they are called culture.

If culture is not a complex of industries, technology or social organisation can it be a

form or pattern including these as well as other phenomena? The notion of culture as an overall

form comprehending variety of social experience and thought needs some explanation.

Whitehead speaks about a form of the forms of thought and Oswald Spengler suggests the

concept of an all-inclusive form. The possibility of systematising the forms of specific kinds of

intellectual activity comes to be envisaged at a late stage of the development of culture and such

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effort in its retrospective orientation seems to look upon creative activity as typical and

repetitive. The awareness of different types of activities of an age or society tends to produce in

the mind an increasing sense of order and connection. Can this sense of unity be described as a

form? Does culture form a unity of this kind? Does it have this kind of interrelatedness? What

actually produces the sense of unity in a culture belongs to the subject and not object. It is the

unity of cultural awareness only.

The Western Tradition

The basic experience with which mankind begins has its levels drawn from the physical,

the vital and the rational. Elements from these three levels of experience continue to form the

key-experience for cultural tradition. It is the sense of death that appears to be a dark window

from beyond which something beckons, a shade that flits across the mind. The experience of the

vital on the other hand is a sense of life. The contradiction between the sense of death and life

was reconciled in rational terms. In the first rational theory of the reconciliation of life and death

in the west, arose the dichotomy of God and Man. The distinction between them is a distinction

in terms of power and being. God is a being unknown but endowed with power and will. Man,

on the other hand, is also a being, with a limited power, endowed with will. Man does not

succeed always. This basic contrast between Man and God continues throughout the history of

western religion.

The relationship between Man and God oscillate between a number of possible modes

including rebelliousness. Man’s rebellion takes the form of either denying God or of seeking a

way to equal him. How is man equal to God? By magic or by science. Nature appeared to the

western man as a mystery and a challenge to be known and mastered. Since God was conceived

as the creator and master of nature, God and nature became the creator and created aspects of a

single reality. The rationalistic western tradition identifies the soul with the mind, and the mind

with form. Even matter and behaviour are patterns of motion of which the reflection in logos is

form. The Man-God dualism which is central to the tradition tends to lead to the Spirit-Matter

dualism. Whether it is Aristotelian or scholastic or modern, it is all capable of being considered

as a development of the same tendencies where what is analysed, what produces the form, is the

sentence, the proposition. ‘In the beginning was the word, the word was with God, the word was

God’.

Usage and Definitions

In its early uses in English, culture was associated with the “cultivation” of animals and

crops and with religious worship, hence the word “cult”. From the sixteenth to nineteenth

centuries the term culture was applied to improvement of human mind and personal manners

through learning. During this period, the term came to mean improvement of society as a whole

and a synonym for “civilisation” (culture as the opposite of barbarism). With the rise of

Romanticism the term designated spiritual development in contrast to material and infrastructural

change. In late nineteenth century inflections of tradition and everyday life dimensions were

added. Ideas like “folk culture” and “national culture” emerged around this time. The German

concept of ‘KULTUR’ broadly equated culture with civilisation and with individual or collective

moral progress. Another usage of culture was championed by anthropologists in the beginning

of twentieth century, and that remains central to the discipline till date. It asserts that “culture” is

to be found everywhere and not just in the high arts or in western “civilisation”. Raymond

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Williams in his work ‘Keywords’ beautifully sums up the historical shifts into three current

usages.

(1) To refer to the intellectual, spiritual and aesthetic development of an individual, group or

society.

(2) To capture a range of intellectual and artistic activities and their products (film, art,

theatre). In this usage culture is more or less synonymous with “the Arts”.

(3) To designate the entire way of life, activities, beliefs and customs of a people, group or

society.

In their study of the meanings of “culture” the anthropologists Kroeber and Kluckhohn

collected number of academic definitions of culture and identified six main understandings.

(1) Descriptive definitions which see culture as a comprehensive totality making up the sum

of social life and listed various fields which make up culture (example, Tylor).

(2) Historical definitions which tended to see culture as a heritage passed on over time

through generations (example, Park and Burgess).

(3) Normative definitions, where one form suggested culture as a way of life or rule

(Wissler) and another form which emphasised the role of values without reference to

behaviour (example, W.I. Thomas).

(4) Psychological definitions which emphasised the role of culture as a problem solving

device, allowing people to communicate, learn or fulfill material and emotional needs.

(5) Structural definitions which pointed to the organised interrelation of different aspects of

culture.

(6) Genetic definitions defined culture in terms of how they came into being cultures as

product of intergenerational transmission.

In the second half of twentieth century understandings of culture shifted in subtle ways.

The core usage of the term could be understood in the following manner:

(1) Culture needs to be understood as something distinctive from and more abstract to the

material, technological and social structural realities.

(2) Culture is to be understood as a patterned sphere of beliefs, values, symbols, signs and

discourses.

(3) Certain “autonomy of culture” is to be accepted and culture should not be perceived as a

mere reflection of underlying economic forces, distributions of power or social structural

needs.

(4) The study of culture is not to be restricted to the Arts, but is to be understood to pervade

all aspects and levels of social life.

Classical Views on Culture

Emile Durkheim, Karl Marx and Max Weber represent ‘classical’ or ‘modernist’

interpretations of the role that culture plays in social life.

(A) Durkheim:

(1) Culture bonds the individual to the wider group through the socialisation process.

(2) Culture helps potentially disruptive individuality at bay.

(3) Individual identity must be replaced by collective group identity for society to ‘work’ in a

state of consensus.

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(4) Collective identity and culture are necessary for social order to be established and

maintained.

(B) Karl Marx:

(1) Culture, or ruling ideas and values, is produced by a ruling group in order to justify its

dominance over others.

(2) Culture acts as a constraint on the individual, leading to social order and control.

(3) Individuals must realise their true class identity in order to break free from ruling-class

oppression.

(4) Class consciousness and identity leads to revolutionary social change, and to the creation

of a new social type and a new social culture.

(C) Max Weber:

(1) Societal evolution is haphazard and accidental.

(2) It is human action and interaction that cause social change and societal evolution.

(3) The outcome of this interaction can never be predicted in advance.

(4) Cultural ideas and values are independent of the economy and of how production is

organised.

Perspectives and Approaches to the study of Culture

1. The French sociologist Pierre Bourdieu is the most important figure in cultural theory and

cultural research today. He has developed a number of concepts like field, habitus and cultural

capital. Three kinds of capital determine social power and social inequality. Economic capital

describes financial resources. Social capital is concerned about social ties that people can

mobilise for their own advantage. Bourdieu’s cultural capital is a concept that has several

dimensions.

• Objective knowledge of the arts and culture

• Cultural tastes and preferences

• Formal qualifications

• Cultural skills and know-how

• The ability to be discriminating and to make distinctions between the “good” and “bad”.

2. The field generally known as British cultural studies is one of the important influences on

cultural theory. There is a primary interest in exploring culture as a site where power and

resistance are played out. Raymond Williams, Richard Hoggart and Stuart Hall are the

luminaries. Graeme Turner has summed up the strengths of British Cultural Studies as:

(1) A vigorous argument for the autonomy of culture.

(2) Clear understanding of the links of meaning to power and social structure.

(3) A theoretically rich, interdisciplinary approach for decoding texts and ideologies.

(4) An ability to incorporate agency through an understanding of political strategy derived

from Gramsci and ideas about reading from communications and literary theory.

3. It is often remarked that the structuralist movement arrived like a tidal wave in the 1950s,

radically transforming the way we think about culture.

Ferdinand de Saussure, a French linguist laid the foundations of structuralist approach to

language as well as culture. According to him, language consisted of an acoustic image (words,

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sounds) linked to concepts (thoughts or ideas). His method involved mapping out a language

system at a given moment in time, instead of accounting for it as a historical product. He also

insisted on the need to differentiate langue (language) from parole (speech). Parole referred to

actual empirical instances of language use while langue was a structure or sign system that

underpinned parole. In his Course in General Linguistics, Saussure suggested that it is possible

to conceive of a science which studies the role of signs as a part of social life and called it

Semiology. His perspective became a major approach to the analysis of culture. Developments

in anthropology, psychoanalysis and cultural studies have established Semiotics as an innovative

and powerful tradition that covers diverse disciplinary fields.

Claude Levi-Strauss is regarded as the leading structuralist theorist of culture. The major

strength of his approach was his ability to map the autonomy of culture. He showed that cultural

systems had their own rules and logic of operation. Ideas about bricolage and systems of

transformation are also widely applied to cultural creativity and change in both western and non-

western contexts. However, his critics point out that the ideas of power are curiously absent

from his work. There is no understanding of the ways that mythologies might become

institutionalised because they support certain interests. Another criticism is that Levi-Strauss

sees culture as an abstraction that is able to exist without active human intervention. Agency

seems to be denied with culture operating in a deterministic way. There is little space for

strategy, agency or individual reflexivity in the Levi-Straussian universe.

The French intellectual and philosopher Roland Barthes was another pioneer of

structuralist approaches to culture in 1950s. He argued for a close convergence between

linguistics and cultural inquiry and heralded a movement toward post-structuralism. Barthes

applied Semiotics to food system, rituals etc. He extended the signifier/signified to other fields

through Syntagam and System. His Mythologies decode French everyday life and culture.

According to Barthes, signs within culture are never innocent, but rather they are caught up in

complex webs of ideological reproduction. A key aspect of Mythologies was the use of the

distinction between denotation and connotation. Denotation referred to the liberal meaning and

connotation to the extra meanings (mythological) that are layered on top. Barthes combined

semiotics with critical theory. This legitimated the study of popular culture in academic circles.

Barthes showed that even junk-culture activities like wrestling or mundane objects like the

automobile were fair game for the analyst’s pen. By 1970s his ideas influenced British Cultural

Studies on advertising, news programming and the print media.

4. Michel Foucault in large part was responsible for constructing and institutionalising the

post-structural model. Discourse is perhaps the central motif in Foucault’s thinking. A discourse

can be thought of as a way of describing, defining, classifying and thinking about people, things

and even knowledge and abstract systems of thought. Discourses were never free of power

relations. They arise out of the power/knowledge relationships between groups of people.

Power was a fundamental and inescapable dimension of social life. Foucault introduced number

of key ideas like micro-physics of power, capillary nature of power, fragmentary and incomplete

nature of power, constructive nature of power and the concept of governmentality. Foucault

sought to develop a history of the hidden and the silent in historical studies to understand those

who are on the ‘forgotten’, ‘silent’ and ‘powerless’ side of these differences. His method is

useful in creating cultural identities.

5. According to W.T. Anderson, the editor of the Fontana Post-Modernism Reader,

postmodernity has occurred in four key areas of social life namely the concept of self has

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become mouldable, morality has dissolved, there are no rules or set ways to behave in art and

culture (no distinction between ‘high’ and ‘low’ culture) and the process of globalisation has had

a dramatic effect on the world. The world appears a much smaller place due to global

communications, world travel and tourism and the spread of ideas across the globe. There is an

“epistemic suspicion” which is at the core of postmodernism. We should relentlessly interrogate

our conceptual categories for evidence of power/knowledge. We should attempt to uncover

hidden biases behind the concepts we use and the ways that they work to reproduce relationships

of domination. We need to rethink our understanding of knowledge as something that is outside

power. The attack on science and modernity has in turn led to an interest in the texts and

representations through which knowledge claims are constructed. Knowledge is seen as the

product of textual strategies and ways of writing. For many postmodernists this era is

characterised by a shift away from production towards an economy, culture, identities and

lifestyles based on consumption. Knowledge has become a commodity and a form of power

rather than an absolute truth. Just as truth fragments into a plurality of truths, traditions have

been replaced with pluralities of traditions. Search for dominant cultural meaning has been

replaced by an individual search for meaning and lifestyle has become a matter of choice.

6. Twentieth century has witnessed lot of research on the production and reception of

culture, most notably in mass communications, film, television studies and sociology. It is an

approach which reflects contemporary inquiry. Despite pluralism in theoretical paradigms some

common principles can also be identified in this perspective.

(i) While accepting broader definitions of culture tangible products such as art, a book, a

film or a broadcast could also be studied (“Recorded culture”, “Cassette culture”,

“Cultural products”, “Cultural object”, etc.).

(ii) A model derived from mass communications research sees culture as something similar

to a message that is produced, transmitted and received. The primary aim of analysis is

to assess the impact of cultural, technological and social factors.

(iii) The central focus is on the concrete agency of actors and institutions rather than on

abstract social forces.

(iv) Cultural forms are not to be studied as abstractions but in their specific contexts.

The field of consumption or reception culture is a component of mass communication

research. The American communications research tradition originated with Lazarsfeld. This

tends to be positivistic in orientation and organised around concepts like transmission of

information and opinion, particularly how voting behaviour is changed by viewing a political

broadcast. This field is strongly influenced by the British Cultural Studies tradition and

recognises the ability of the audiences to be critical of dominant ideologies and the

match/mismatch between their readings and the ones that are intended. Television programmes,

for example, are “texts” that have to be “decoded” by viewers who use a particular “horizon of

expectations” in making sense of them. In reception culture there is greater emphasis on the

autonomy of the individual to generate their own private meanings. A major concern is with

pleasure, play and fantasy as responses to texts. David Morley, David Buckingham, Janice

Radway and John Fiske are some of the prominent writers in this field.

Philip Smith has evaluated the production and reception cultures and summarises the

positives as follows:

(1) Causal links and processes can be clearly traced to specific institutions and actors.

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(2) Rigorous methodologies are often used, especially in comparative audience research.

(3) Culture is treated something concrete rather than something reified and outside human

agency.

(4) Research objects tend to have clear research findings rather than open-ended theoretical

speculations and assertions.

There are two common criticisms of the aforesaid area of cultural research. The content

of cultural production tends to be accounted for with reference to the demands of the audiences,

the censorship of gatekeepers, technological advances and so on. Such a position threatens the

ability to theorise the autonomy of culture. Another concern is that the field tends to work with a

limited definition of “culture’. The idea of culture refers to so much more than just “the arts” or

creative products as they are conventionally defined. It can also include everyday life,

ideologies, rituals, discourses and so on. Daniel Dayan and Elihu Katz, Robin Wagner Pacifici,

Barry Schwartz and Robert Wathnow are some of the notable writers in the field of production

and reception culture.

Conclusion

Globalisation can be defined as ‘those processes, operating on a global scale, which cut

across national boundaries, integrating and connecting communities and organisations in new

space – time combinations making the world in reality and in experience more interconnected.

The idea of cultural identities emerge on personal and group identities based on religion, gender,

class, ethnicity and nationality. In modern times the cultural identity which has had the most

important influence on the formation of subjects is the notion of national identity. The decline of

the nation-state and the acceleration of globalisation process have certainly affected national

allegiances and identities. Postmodernists claim that the process of globalisation can be seen as

either liberating or constraining. The plurality of cultural meanings on offer due to globalisation

means that individuals can ‘pick and mix’ from them and modify their identity in line with ever

changing and expanding world. However, the rapid expansion of cultural influences might

create uncertainty – it might lead to confusion, chaos and cultural disorder as well. Media critic

McLuhan wrote as early as 1960s about the creation of a ‘global village’ and a ‘global culture’

based on new technology. Globalisation has raised questions about how individuals experience

time and space, and how they experience and create culture and identity. Some see it as a source

of liberation and creativity, others view it as presenting us with further risks and damage.

Long Questions:

1. Examine the usage and definitions of the term culture by anthropologists.

2. What is culture according to classical sociology?

3. Discuss the various perspectives on the study of culture in the second half of the 20th

century.

Suggested Readings:

1. Warren Kidd, Culture and Identity, Palgrave, 2002.

2. Philip Smith, Cultural Theory, An Introduction, Blackwell, 2001.

3. Graeme Turner, British Cultural Studies, Routledge, 1996.

4. Diana Crane, The Production of Culture, Sage, 1992.

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LESSON 2A

PLURALITY IN INDIAN CULTURAL TRADITIONS

Vijaya Laxmi Singh Sri Aurobindo College (Evening)

Delhi University

I

Introduction:

What is the cultural tradition of India? India is a land with rich and ancient heritage going

back to 3000 BC. The Harappan Civilization along with the Mesopotamian Civilization and

Egyptian Civilization stood as the earliest civilization of the humankind. India has the distinction

of being one of the few countries of the world, along with China, to have a continuous tradition

from ancient period. It is a synthesis of diverse cultures that have co existed over a period of

time, with several different strands, sometimes meeting sometimes conflicting, sometimes

merging, but continuously co-existing.

In recent times, 'culture' has become one of the most common words in all kinds of public

discourse. 'Police culture', 'Welfare culture', 'Enterprise culture', 'Research culture', ‘Youth

culture’, ‘Media culture’ and so on. There seems to be no limit to its applicability in almost any

context. Social groups may be differentiated from each other by their differing attitudes, beliefs,

language, dress, manners, tastes in food, music or interior decoration, and a host of other features

which comprise a way of life.

Plurality of Indian Culture

India offers a unique plurality of traditions. Among these the Brahmincal concept of

dharma which describes the duties of the individual has often been regarded as dominant

because many rights merely follow from these duties. It is a basic question whether modern

concepts of human rights interfere with traditional notions of dharma, because in the law books

of the Dharmashastras, there is no equality before law or equal protection of law, since society

has been arranged through a rigid system of social hierarchy based on caste. By its very nature,

the caste system goes against respect for an individual’s dignity. It has been called the ‘duty-first

value system of Indian culture’ and reflects some of the principal differences between the

political traditions of India and Europe. Unlike in Europe, man and society in India have been

perceived as antagonistic to each other, while in western political philosophy the triangle of

‘individual-society-state’ functions as the key to the explanation of major developments.

However, as several studies on caste among the Indian Muslims have shown, while the

influence of Hindu social norms on the Muslims might partially explain the continued salience of

caste among them, it does not fully explain how the Muslims of the region came to be stratified

on the basis of caste in the first place. It also ignores the role of sections of the ulama, scholars of

Islamic jurisprudence, in providing religious legitimacy to caste with the help of the concept of

kafa'a.

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The caste system was described in the Rig Veda, an ancient Brahamical text, as a social

order intended to maintain harmony in society. It divides people into four main varnas, but there

also are those outside the system, the ``untouchables'' (Avarnas). Though discrimination based

on caste has been outlawed since India's constitution was adopted in 1950, the practice still

pervades society.

Caste, which was a matter of vital importance to the Vedic Brahmins of India, was one of

utter indifferences to the Buddha, who strongly condemned the debasing caste system. In his

Order of Monks all castes unite as do the rivers in the sea. They lose their former names, castes,

and clans, and become known as members of one community, the Sangha.

Like a lot of other countries in the world at the turn of the century, India seems to be

confronted with a double challenge. From the outside it is the multifarious and multidimensional

process called globalization; from within we witness developments of disintegration called

ethno-nationalism or religious fundamentalism. Both are interlinked, both tend to have a wide

range of implications, and both might undermine the traditional concept of the nation-state.

During the last decade, crises symptoms in India have multiplied. Many social (particularly

caste) and religious conflicts present a threat to secularism and democracy. Thus, many questions

about India’s political identity have to be posed or reformulated again and possible new answers

have to be considered. Since a dialogue by its very nature has to be an open-ended process, it

was not expected that the contributions to be discussed at the workshop should consider all

relevant aspects of or come up with answers in a strong logical sequence. Instead, the idea was

that they should be able to raise questions that have specific political consequences and social

implications and indicate possible directions along which answers could be found. Such

eclecticism, a necessary part of a dialogic process, has been responsible for a degree of

tentativeness regarding both the concepts used and the conclusions pressed in the analyses.

India is a vast country with many languages, religions and ways of life. The manner of

living, dress, habits and customs in the cold Himalayan region is different from the hot and

humid south India. The difference in language has been the basis of growth of varied literature in

the different parts of the country. India seems to be an epitome of the world, in that it is a

mixture of many ethnological groups, such as Aryan, Dravidian and Mongolian. Yet, it is

amazing to see the wonderful unity of India under this superficial diversity. Thousands of years

of living together have knit us into a large cultural unit. More than a thousand years ago, Sri

Sankara demonstrated the unity of India by founding centres of learning in the four borders of

India—Badrinath in the north, Sringeri in the south, Dwaraka in the west and Puri in the east.

Even today the priest who performs puja in Badrinath is a South Indian who comes from near

Cape Comorin, and those who offer worship at Rameshwaram are from the north.

The population of India as per 2001 Census comprises of Hindu (80.5 %), Muslims

(13.4%) Christians (2.3 %), Sikhs (1.9 %), Buddhists (0.8 %), Jains (0.4 %), and other

communities (0.6 %). With India's population now at one billion, this means substantial numbers

in each category. India's states vary as to the degree of religious diversity. Kerala, for example, is

one of India's most diverse states. Its population is Hindu (57%), Muslim (23%) and Christian

(19%). Jammu and Kashmir state is predominantly Muslim, but it also has a very large Buddhist

population in its Ladakh region. Punjab has a large population of Sikhs..

Christians are a majority in Mizoram (85%), Meghalaya (64%), and Nagaland (87%).

About a quarter of the population is Muslim in Assam (28%) and West Bengal (24%). The

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highest percentage of Buddhists live in Sikkim (27%) and in Arunachal Pradesh (13%). A small

proportion of the population belongs to the tribes, which worship spirits in nature, such as

Arunachal Pradesh's Donyi Polo, focused on worship of the sun and moon.

Plurality in Religion:

One of the typical characteristics of Indian culture was its diversity, syncretization and

synthesis which could also be seen in the area of Indian religion. There is a popular notion that

India’s ancient religion( or religions) was Hinduism ( actually Vedic Brahmanism) and it claims

a special connection with texts such as the Vedas, the Dharmashastras, and the Puranas etc.

During the period of epics and the Puranas which date to the Gupta era, the religion came to be

called Hinduism. Hinduism was not a monolithic religion, but more a labyrinth, criss-crossed at

different layers and at different regions, sometimes maintaining their distinctiveness and at other

times giving the impression of merging, to present a unified religion. This intense syncretization

of the local religions of India had first come to be grouped together and termed Hinduism by the

census enumerators in 1891 onwards, when they had sought to identify the varied religious

practices of India, which could not be termed Buddhist, Jain, Sikh, Muslim, Christian or

Zoroastrian..

Jainism and Buddhism emerged during the period of the Upanishads. They posed a great

challenge to Brahmanism. The appeal, the personality and the sincerity of Mahavira and the

Buddha had a strong impact on the people of India. Their teachings centered on a way of life and

an inner experience, rather than on sacrifice. With the decline of Buddhism, Saivism and

Vaisnavism emerge, reflecting the syncretism and synthesis of Brahmanic and local religions.

Islam is India's second largest religion. The branches of Sunni, Sh'ia, and Ismaili Islam

have all found homes in India. At independence, many of British India's leading Muslim figures

migrated to Pakistan. Muslim centers such as Hyderabad largely lost their elite subcultures. One

can see Islamic influence in all the spheres of Indian culture.

Christianity is practiced by about 2.3 percent of India's population, about nineteen

million in all. It is one of India's fastest-growing religions. The new Christians join a tradition

that includes communities that go back almost to the founding of Christianity, the Syrian

Christians. Conversion to Christianity can be observed in different parts of the sub-continent.

Sikhism is professed today by about sixteen million people in India. Twelve million in

Punjab, about one million in Haryana, another half million in Delhi, and three-quarters of a

million are in Rajasthan and Uttar Pradesh. At independence, Punjab lost its western half to

Pakistan. Sikhs are usually identified with their visible and distinctive turban, beard, and steel

bangle, to those who cut their hair and dress in Western style.

Buddhists are less than 1 percent of the population (about 7 million in 2001). As recently

as 1951 Buddhism seemed almost defunct in the land of its birth, with only 181,000 Buddhists

counted in that year's census. Like Christianity, Buddhism due to its simplicity has developed a

mass appeal among Dalits, which has let them to embrace Buddhism in increasing number since

1950. The resettlement of the Tibetan spiritual leader, the Dalai Lama, and refugee Tibetans in

India has raised Buddhism's profile in the land of its birth. In 1956, B.R. Ambedkar led the

conversion of half a million Dalits to Buddhism by receiving initiation from the hands of the

senior Buddhist teacher in India. Buddhism's appeal to Ambedkar reflected three factors: it is

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indigenous to India; it is a world religion; and its message is humanistic and egalitarian. With

this great upheaval, Buddhism may truly be said to have revived in India and from being what A.

L. Basham calls, - ‘the cherished dream of a few’ to have become once more ‘the living hope of

millions’.

India has today approximately 3.4 million Jains, mostly in western India: Maharashtra

(about one million), Rajasthan (600,000), and Gujarat (500,000). Industry, commerce, finance,

publishing, law, and education are areas where Jains have found distinction. Jainism has

profoundly influenced aspects of Indian thought, from religion to Gandhi's concept of

satyagraha, nonviolent resistance, etc.

Plurality in Languages

There are eighteen official languages recognized by the Indian constitution and these are

spoken in over 1600 dialects. India's official language is Hindi in the Devnagri script. However,

English continues to be the official working language. For many educated Indians, English is

virtually their first language, and for a great number of Indians who are multi-lingual, it will

probably be the second. The country has a wide variety of local languages and in many cases the

state boundaries have been drawn on linguistic lines. Besides Hindi and English, the other

popular languages are Assamese, Bengali, Gujarati, Kannada, Kashmiri, Konkani, Sanskrit,

Sindhi, Tamil, Malayalam, Marathi, Punjabi, Oriya, Telugu and Urdu.

Some Indian languages have evolved from the Indo-European group of languages and

these were the languages of the Aryans who invaded India. This set is known as the Indic group

of languages. The other set of languages are Dravidian and are native to South India, though a

distinct influence of Sanskrit and Hindi is evident in these languages. Most of the Indian

languages have their own script and are spoken in the respective states along with English.

Hindi is spoken as a mother tongue by about 20 percent of the population, mainly in the

area known as the Hindi belt comprising Bihar, Madhya Pradesh, Rajasthan and Uttar Pradesh. It

is the official language of the Indian Union.

Ancient oral literatures appear to have made the jump to written form sometime between

the era of Ashoka and the Gupta Empire. The oldest readable texts are Ashokan edicts dated to

the third century B.C. Knowledge of other texts relies on scholarly reconstructions and

comparison with sources such as coins, archaeological sites, and art. Two north Indian epics, the

Mahabharata and the Ramayana, took their literary form around the fourth century A.D. Ilanko

Atikal's south Indian epic Silappadikaram ("The Jeweled Anklet") represents an important

independent tradition. Playwrights such as Kalidasa produced enduring works such as

Meghaduta ("The Cloud Messenger") and Shakuntala, named for its heroine. A third favorite

play was Mrcchakatika ("The Little Clay Cart"), attributed to King Shudraka. This is the story of

a poor Brahman merchant who falls in love with a noble courtesan. Popular literature includes

the animal tales of the Panchatantra and the Buddhist Jataka tales. The enduring appeal is seen

in retellings, such as the 1980s television series of the two north Indian epics, comic book

versions, and websites.

A movement away from Sanskrit to vernacular languages emerged, stimulated by the

development of bhakti traditions, which featured songs and poems celebrating the individual's

longing for union with the deity. Bhakti movements emerged first in south India, and then moved

12

north. Tamil poets also created a rich variety of secular poetry. The ninth through twelfth

centuries were significant for the development of the Tamil, Telugu, and Kannada languages. In

Karnataka, tenth- through twelfth-century poets developed a form of free verse. Development of

regional languages intensified in the thirteenth through eighteenth centuries. Bhakti literatures

continued to develop. The interaction with Islam—now also developing its distinctive cultural

focus within India— intensified this process. A counterpart to the bhakti movements, which

emphasized the common nature of all humans and religions, was the elaboration of institutions of

sacred kingship in Hindu-ruled zones of south and eastern India. These emphasized hierarchy

and relied upon ritual specialists who sustained Sanskrit traditions.

The Bhakti poets include Guru Nanak (1469-1539), founder of the Sikh religion; Sur Das

(ca. 1483-1563); Meera Bai (ca. 1516-1546); Kabir (1440-1518); and Tulsi Das (1532-1623),

whose works have been the most influential. Sur Das composed in Braj Bhasha, a form of Hindi

associated with Mathura and devotion to Krishna. Little is known of the historical Meera Bai

beyond her status as a Rajput princess. Meera Bai abandoned her earthly husband to devote her

life to adoration of Krishna, who she felt was her true husband. Her songs passed down in

medieval Hindi, Rajasthani, and Gujarati.Indo-Islamic genres also developed. One genre tells of

a hero's adventures. Highest acclaim was reserved for the poetic Urdu-language form called a

ghazal. Poets developed this to a high art, using a simple basic structure of a sequence of two-

line rhyming couplets with internal meter and alliteration. The ghazal genre expanded to

encompass diverse themes ranging from love to social protest.

The first important Indo-Islamic poet was Khusrau, the pen name for Amir Dehlavi

(1253-1325). All the Indo-Persian poets, including Mughal emperors, used pen names. The last

emperor Bahadur Shah (1775-1862), composed under the pen name Zafar (Victory). The two

most distinguished poets wrote virtually at the end of the Mughal period: Mir (Mir Taqi, ca.

1722-1810) and Ghalib (Mirza Asadullah Khan, 1797-1869), whose career as poet laureate to the

last Mughal emperor was interrupted by the failed rebellion of 1857.In the early nineteenth

century, Ram Mohan Roy (1772-1833) established vernacular language presses and translated

Sanskrit texts into Bengali and English. Indian authors began to develop the novel. In Bengal,

Bankimchandra Chatterjee (1838-1894) published several historical romances such as

Anandmath ("The Abbey of Bliss" [1882]), about the 1779 Sanyasi rebellion in Bengal.

Novelists working in Marathi, Tamil, Urdu, and Hindi produced works on themes ranging from

military adventures to romances and detective stories. The most renowned nineteenth-century

novel is the Urdu language Umrao Jan Ada (1899), by Mira Muhammad Hade Rosa (1857-

1931). This is the tale of a Lucknow courtesan caught up in the tumultuous months of 1857, and

of her life in the revolt's aftermath.

The failed rebellion had the most telling impact on the poets who had been attached to the

Indo-Islamic courts. The famous poet Ghazi (1797-1869) lost both friends and patronage.

Libraries and important collections of poetry were destroyed. This sense of a lost world is

evident too in the works of Urdu poets such as Azad (1830-1910) and Hali (1837-1914). Another

response to this crisis of Urdu-language arts and the Indo-Islamic subculture arose as Sir Sayyid

Ahmad Khan (1817-1898) created the Muhammadan Anglo-Oriental College at Aligarh in 1875.

Efforts to revitalize intellectual life included founding literary journals, and establishing poetry

and writing prose. Modern Indian writing received Western attention when Rabindranath Tagore

(1861-1941) was awarded the 1913 Nobel Prize for literature. His most acclaimed work

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Gitanjali, "Song Offerings," published first in 1909 in Bengali and then in English in 1912,

affirms life and trust.

Modern Hindi began its development in forms such as the novel, particularly the works

of Premchand (1881-1936).21 His style was social realism and his field was village life, seen in

works such as Godan ("The Gift of a Cow" [1936]). The generation of writers born as the

nineteenth century turned to the twentieth century wrote of social concerns such as in the work of

Mulk Raj Anand (b. 1905), particularly his Untouchable (1935), which tells of a day in the life of

an outcaste sweeper.

Plurality in Society

Society is the very basis of our Indian culture. It centered around the Varna system,

consisting of the Brahmanas,Kashtriyas, Vaisyas and Sudras. There are also many outcastes and

untouchables in Indian society. Social hierarchy is most deep-rooted in India’s civilization. The

caste system has long been close to the heart of Hinduism, and even such enlightened Hindu

reformers as Mahatma Gandhi never dared to attack it. Indeed, Gandhi insisted that caste was but

a natural reflection of human differences. Some people were “born” to preach, others to fight,

still others to handle money, or do strenuous manual labor, even as men and women were

endowed with different natural functions. Modern Indians insist that freedom put an end to caste,

even as a constitutional amendment abolished untouchability, but Brahmanic “purity” and

“impurity” remain the polar stars of India’s social hierarchy. Fears of pollution, carried to their

ultimate extreme, gave birth to the dreadful outcaste group called “Untouchable,” who emerged

as the lowliest members of Hindu society. Traditional caste and class patterns have changed

considerably over the past century and half, under the impact first of Western modernity, then of

independent Indian modernity. Article 17 of India’s Constitution has, fortunately, abolished

untouchability since 1950, explicitly forbidding its practice “in any form.” Deep rooted,

irrational prejudice, however, dies slowly. Dr. B.R. Ambedkar (1891-1956), who chaired the

committee that drafted India’s Constitution, was a British Barrister, who received his Ph.D. from

Columbia University and served as Nehru’s Minister for Law. Ambedkar was so bitterly

disappointed toward the end of his life, that he embraced Buddhism. Millions of others who were

born low-caste Hindus have been converting themselves to other faiths including Islam and

Christianity.

Traditionally, untouchables have always performed services vital to “caste Hindus,”

including sweeping, disposal of carcasses, leatherwork, and menial services. Untouchability is

abolished by law in modern India.

No institution in India is more important than the family. Family life is in many ways the

heart of the caste system, since that is where caste values are taught and learnt, and where the

way of life called “Hindu family” was something of a microcosm of ancient Indian society and

remains to this day India’s most vital social unit of continuity, the stuff that caste communities

are made of, more important than the individual at one end of society’s spectrum, or the nation at

the other. For at least three thousand years, most north Indian families have been patriarchies,

ruled by elder males whose word was law, and whose sons brought home brides to live jointly

under their father’s roof, within his domain. Work and its fruits, entertainment and its pleasures,

were jointly shared by members of the extended Indian family, which usually embraced three

generations, sometimes four. Globalization has affected the traditional family structure and

values in many ways.

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Ancient Indian law treated women as perpetual minors, requiring “protection,” first by

their fathers, next by their husbands, and finally by their sons. In other words, women could

never take care of themselves or live alone. Even prostitutes became “slaves of the god,” kept by

temple Brahmans. Much has changed since then. Widows are no longer burnt, pre-adolescent

girls are no longer forced to marry, one woman served as prime minister of India for more than a

decade and a half, and more young Indian women now become doctors, scholars, and scientists.

Matrilineal families appear to have been widespread throughout most of south India until quite

recent times. Women in patriarchal Indian families are much less powerful.

Unity in Diversity

Is there a unified Indian culture? Is it based on caste religion or region? Unity in diversity

has always been the distinguishing feature of Indian culture. India’s cultural history of several

thousand years shows that the subtle but strong thread of unity which runs through the infinite

multiplicity of her life, was not woven by stress or pressure of power groups but the vision of

seers, the vigil of saints, the speculation of philosophers and the imagination of poets and artists .

The basic concepts of unity and diversity of the manifold societies in India have never

been looked into in a systematically satisfying manner. This may be due to the fact that ever

since the discussion of a homogeneous nation state arose, the task to incorporate India’s

heterogeneous society into the picture was fraught with immense dangers. Along with the

construction of Indian nationality, however all democratic values had to meet the demand for

national integration. Thus mobilizing power of a functioning mass democracy itself became the

main agent to lead the Indian ‘diversity of diversities’ to a national ‘converging horizon’.

Language has posed a problem to all our political leaders. The late Prime Minister,

Jawaharlal Nehru, adopted a far-sighted and realistic policy in the matter. The main source of

the trouble is that the regional languages are not being given full opportunities for development,

between English on the one hand and the rising claims of Hindi on the other. It is not surprising

that there should have been considerable apprehension that the regional languages, some of

which can claim great antiquity and a well-developed literature, may continue to be neglected in

free India, as they were in the British regime. The only way to assure these languages full scope

for development is to make them media of education at all levels including the university. To

meet the demand for integration the Constitution of India has recognized eighteen official

languages.

The word caste is not a word that is indigenous to India. It originates in the Portuguese

word casta which means race, breed or lineage. The phenomenon of caste has probably aroused

more controversy than any other aspect of Indian life and thought. Susan Bayly’s cogent and

sophisticated analysis explores the emergence of the ideas, experiences and practices which gave

rise to the so-called ‘caste society’ from the pre-colonial period to the end of the twentieth

century. Using an historical and anthropological approach, she frames her analysis within the

context of India’s dynamic economic and social order, interpreting caste not as an essence of

Indian culture and civilization, but rather as a contingent and variable response to the changes

that occurred in the subcontinent’s political landscape through the colonial conquest. The idea of

caste in relation to Western and Indian ‘orientalist’ thought is also explored. Most studies of

caste in India deal with the classical Hindu caste system or with its present forms among the

Hindus. Since caste is the basis of the Hindu social order and is written into the Brahminical

texts, studies of caste have been largely Hindu-centric. Following from this, the existence of

15

caste-like features among non-Hindu, including Muslim, communities in India is thus generally

seen as a result of the cultural influence on these communities of their Hindu neighbours or of

Hinduism itself. This claim is based on the untenable assumption of a once pure, radically

egalitarian Muslim community in India later coming under the influence of Hinduism.

India being the largest democracy in the world with a civilization more than five

thousand years old boasts of multiple cultural origins. The cultural origins of the Indian

subcontinent can be traced back to the Indus Valley Civilizations, the remains of which are

cherished even today. Since the late 18th century India was under the influence of the British

Empire until 15th August 1947 the day when India gained independence. India is a land of

diverse cultures, religions and communities. There is great diversity in our traditions, manners,

habits, tastes and customs. Each and every region of the country portrays different customs and

traditions. But though we speak different languages yet we are all Indians. 'Unity in Diversity'

has been the distinctive feature of our culture. As history tells us that there has been active

participation from people of different caste and religion.

Conclusion

India at present is facing many problems. The biggest of these is the problem of

communalism and terrorism. In fact, it is the biggest threat to humanity and to the unity and

integrity of the country. The gender inequality is another major social issue causing concern in

the Indian society. The Indian society is highly prejudiced against the female gender. Basically a

male dominated society, decision making at family and political level is almost single handedly

handled by the men. Customs such as dowry are worsening the process of subjugating women in

the society. Of late, with social awareness about women's vital role in the development of a

community or the country, there has been a change in the perception of gender equations in favor

of women. Education of women, giving the women a greater say in decision making in the

family and the governance are emphasized. In spite of significant leaps made by India in the

economic front, poverty is still a dominant social reality. A majority of the population of India

lives in utter poverty without access to health care, housing, drinking water and education. Major

policy change has to be enforced to better the lives of these millions souls if India is to become a

truly desirable place to live in. Education is still a privilege in this country. Providing Primary

education has been the motto of the government. Our efforts have yet to pay the desired results in

this direction. Lack of education is the primary obstacle to the nation's development. India should

educate the masses if its hope of becoming the global knowledge superpower is to become a

reality.

We must also clearly understand that it is not 'cultural integration' that we are looking for.

Cultural variations/pluralism will continue to exist and in no event should these be suppressed;

nothing can be more dangerous for the well-being of the country. The issue of the deepening of

national consciousness can be fostered by two programmes: (i) the understanding of our

multifaceted cultural heritage, and (ii) the creation of a strong driving faith in a great future for

our nation. The first could be promoted by well-organized teaching of the languages and

literatures, philosophy, religions and history of India, and by introducing the students to Indian

architecture, sculpture, painting, music, dance and drama in its various phases.

For cultivating democratic values, special emphasis has to be laid on the development of

qualities such as a scientific temper of mind, tolerance, respect for the culture of other religions

16

and regional groups, etc. These will enable us to adopt democracy, not only as a form of

government, but also as a way of life.

Long Questions:

1. What are the cultural traditions of India?

2. Discuss the plurality in Indian Religion?

3. Indian society is a caste based society. Is it a factor which divides Indian society?

4. In what ways does the pluralism in Indian traditions enrich our culture?

5. Discuss how the multi-faceted Indian culture helps in unifying India?

6. Is there ‘Unity in Diversity’ in Indian culture?

Suggested Readings:

1. Carol Henderson, Culture and Customs of India, Greenwood Publishers. 2004.

2.Imtiaz Ahmad, Partha. S. Ghosh and Helmut Reifeld (eds.), Pluralism and Equality: Values in

Indian Society and Politics, Delhi, 2000.

4. Rasheeduddin Khan, (ed.) Composite Culture of India and National Integration, Shimla, 1987.

3. S. Abid Husain, The National Culture of India, National Book Trust, New Delhi, 2003.

17

LESSON 2B

VARIETIES OF CULTURE

Vijaya Laxmi Singh Sri Aurobindo College (Evening)

Delhi University

Introduction

It is generally seen that the meaning which people attach to the word culture is good taste

and refined manners. Culture can be defined as all the ways of life including arts, beliefs and

institutions of a population which are passed down from generation to generation. Culture has

been called "the way of life for an entire society." As such, it includes codes of manners, dress,

language, religion, rituals, norms of behavior such as law and morality, and systems of belief as

well as the art. India is a vast country with many languages, religions and ways of life. We have

varieties of culture in the Indian subcontinent which are broadly divided and listed below:

Tribal Culture

A unit of socio-political organization consisting of a number of families, clans, or other

groups who share a common ancestry and culture and among whom leadership is typically

neither formalized nor permanent. There are many tribes in India and all over the world and each

tribe has its own unique culture. Some tribes may even have cultural distinctions within their

different clans. But some traits are generally common among most tribes. For instance, originally

most tribes are animists. Most tribes have festivities which include dancing and singing. Most of

these festivities involve consumption of alcoholic beverages. In spring, Manipuris, Santhals and

Oraons celebrate Holi when they drench each other with colour. A very popular festival of the

Manipur is the Gopi dance celebrating the love of Radha and Krishna.. Most tribal marriages are

based on love matches, with the bridal couples getting to know each other before marriage. They

have distinct Food and drink habits, Social rites, etc.

Folk Culture

Folk culture refers to the localized lifestyle of a culture. It is usually handed down

through oral traditions necessitated by their linguistic, ecological and agricultural conditions,

relating to a sense of community, and demonstrates the "old ways" over “novelty”. Folk culture

is quite often imbued with a sense of place. If its elements are copied, or removed to, a foreign

locale, they will still carry strong connotations of their original place of creation. The folk have

drawn on the rich traditions flowing from the Vedas, Upanishads, Ramayana, Mahabharata and

the other major traditions. Folk traditions have been highly enriched by regional variations. The

folk traditions act as source of education for their community. They use different means such as

folk tales, parables, proverbs, folklores and songs and a vast area of knowledge embedded in the

oral tradition from time immemorial, thus unraveling the inner pattern and motive of Indian

society.

Folk traditions created for specific occasions like the birth of a child, marriage harvest, festivals,

funeral and other sacrificial rituals possess certain common qualities shared by whole of India.

The human need for the knowledge of history has increased in our contemporary world, and it is

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generally accompanied by the nostalgic feeling of historical continuity with past generations. On

the other hand, the past is usually idealized as an unsophisticated, simple "counter world" that is

opposed to the neurotic and chaotic present day. Folklore traditions are perceived as the

impersonation of that unaltered, stable and desirable "lost world" that are documented and

deposited in archives in their authentic original form. The term 'folk song' appears to convey a

somewhat rigid connotation, as it embraces the idea of relating to all the people comprising a

'folk'. Folk songs have never functioned the same way for everybody in a community, they have

never been current among all people, but only in particular groups of internal interactive

communication, whose structure may vary considerably. In different age, people sing different

songs with different companions. In its primary function, folk song is a serving object in

manifestation of community life. In its secondary function folk song is experienced as a

triumphant object and a spectator experience is developed in the contemporary society the use of

the song as a tool in life-shaping experiences has been replaced in many cases by a spectator

experience.

High Culture and Popular Culture

Popular culture is often understood as the culture of the mass of people or of subordinate

classes. The contrast is with high culture, understood as the culture of educated elite. Popular

culture, according to this view, is therefore Hollywood cinema, television, popular music and

romantic fiction. High culture is French cinema, opera on television, classical music and poetry.

High culture therefore refers to what are the greatest artistic and literary achievements of a

society. Clearly what counts as the greatest is going to ultimately be a matter of values –

judgments about what should or should not count as high culture. Low culture on the other hand

refers to a wide variety of cultural themes that are characterized by the masses. At various times

low cultural forms have included the cinema, certain forms of theatre, comic television, folksong

and dance.

A simple example illustrates the difference between high and low culture: a painting of a

nude woman hanging on the wall of a gallery is art (part of high culture) whereas a picture of a

naked woman published in a mass circulation newspaper is certainly not art but the very opposite

of art namely low culture. The justification for the distinction is found not in the cultural form

itself (a picture of a gallery is man or women is much the same whatever medium it is presented

in) but in the theoretical elaboration of that form. When a painting is hung in an art gallery what

is being admired is the skill and composition the cultural references and representation. When a

picture appears in a newspaper these are absent and all that is left is a titillation factor.

Courtly Culture

Court is a social institution, focusing on its organization and structure, protocol and

relational dynamics of its members. The origins of the courtly culture in India goes back to the

Mauryan period (320-185 B.C.) but gained their first expression in terms of source materials

under the post-Mauryan dynasties of northern and central India- the Sakas, Kusanas, Satvahanas,

Guptas and other dynasties. The pattern and practices which emerged during these periods

gradually developed and were rearticulated within the context of the new political order

established by the Turkish Muslim rulers and later the Mughals. But courtly culture in medieval

times arose gradually from post Asokan times.

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The Culture of court had to play major role in the social units such as city, temple,

bazaar, even the village, cultivation of aesthetic sensibility at court, jewellery, dress, cosmetics,

palace architecture, garden food, erotic love, and social processes such as feudalism, state

formation. But also the courtly culture was a complex set of practices which were formative and

constitutive of political life in early medieval India.

Media Culture

There is a significant relationship between culture and media. The very development of

the field of media studies has been premised on an understanding of the centrality of the process

of media consumption in contemporary social and cultural developments. The genesis of mass

culture lies in western imperialism which used it to influence the developing countries. There is a

danger for the developing countries’ cultural sovereignty from the major disproportions in the

mass media field between these countries and the leading western nations. Western nations

produce the lions’ share of television and radio programmes, and they own dozens of

permanently operating communication satellites.

Film Culture

Since pre Independence Day film culture has become one of the most pervasive features

of Indian culture. Indian films are categorized into mythological, commercial/popular, art,

historical/period films etc. Commercial films are generally associated with modern, non

traditional life style and youth identify profoundly with film culture. Elders often deprecate film

culture as vulgar, corrupting and immoral and attempt to discourage their children from viewing

it. Many intellectuals charge that while entertaining the audience it distracts, manipulate and

alienate them, obscuring class consciousness and mechanisms of dominance, and promoting a

combination of neo-feudal values with the most reactionary aspects of bourgeois ideology. Dada

Saheb Phalke was the father of Indian Cinema. Bombay Takies, Gemini films, Raj Films, Prithvi

Films were the indoor studios where films were shot. Now–a-days shootings take place in

outside locations. Himanshu Ray, Gurudutt, Raj Kapoor, Govind Nihlani etc are some of the

prominent film makers. This is reflected in Manmohan Deasai’s statement “I want people to

forget their misery. I want to take them in the dream world where there is no poverty, where

there are no beggars, where fate is kind and God is busy looking after his flock.” Similar are the

expressions of Subhash Ghai, David Dhawan etc. Indian cinema could also be regarded as one of

the major culturally unifying features in Indian society. Hindi film dominates the cinema in north

India and is screened throughout the country.

Television Culture

As the most prominent domestic communications technology, one which constitutes the

central entertainment and informational mode, Television occupies an extremely significant

cultural space. As with the early radio and rising use of internet, television conflates the public

and private spheres. The technological advancements are often seemed to have transformative (if

not utopian) consequences for the TV audience. The new telemetric services, Video recorders

and video discs will make a more personal use of the medium possible. The user will be able to

decide what to watch and when to watch. It will be possible then to move beyond the fixed mass

audience which has been characteristics of TV history. The growth and content of television

programming in the second half of twentieth century all over the world especially India could be

read as media imperialism. Television’s rapid transmission of distant words and pictures has

20

challenged cultural practices that once emerged from particular geographic spaces. Indeed as the

audience view television they now claim membership in several communities at once, the group

of family and friends seated in the room, the entire community of national filtering televised

images in ways unique to the national culture’ and the international community of media

cognoscenti, people around the world bound together in their knowledge of language, rhetoric

and quirks of this or that programme or program genre. In the past four decades television has

become a part of Indian popular imagination with images and ideas about television making

their way into songs, paintings, cartoons, postcards, wood carvings, magazines and radio talk

shows. The impact of television, particularly western programmes on the value and attitude of

young people has been the source of much public discussion. Many regular male viewers often

said that television shaped the attitudes and behaviours of young women too much, and women

said that television swayed children too much. Many pointed towards changes in fashion a

preference for western clothes, length of dresses emphasis on slimness, wearing of dreadlocks

and use of rap/hip-hop language and posturing etc. as examples of how television influences

young people. Every session of TV watching to which the whole of the Indian middle class is

addicted turns out to be a study circle for acquisition of certain sort of ideology and cultural taste.

Cassette culture

It refers to the trading of home-made audio cassettes, usually of rock or alternative music.

The culture was in part an offshoot of the mail art movement of the 1970s and 1980s in both the

United States and the United Kingdom. Several factors made the "cassette" boom occur:

obviously the recording format of the cassette tape was important. However, it was the fact that

bands did not need to go into expensive recording studios any longer. Multi-track recording

equipment was becoming affordable, portable and of fairly high quality during the early 1980s.

One could purchase a "four track" cassette recorder and get a reasonable sound at home.

Therefore, due to inexpensive (or less expensive) recording and the ease of duplicating tape there

was an increase of recording artists. Add to this the fact that college radio was coming into its

own. For many years there were non-commercial college radio stations but now they had a new

found freedom in format. With the influx of new music from sources other than the major record

companies - and the quasi-major medium of college radio to lend support - the audio boom was

on.

Changes have also been occurring in the market share of various genres. Although the

music industry is still heavily dominated by the genre of Hindi film music, non-film music has

significantly expanded its markets. This includes the genres of international music (primarily

Western classical and popular music), classical Indian music (both north and south Indian

traditions), devotional music, regional music (non-Hindi language music and musical traditions),

and the new genre of Indipop.

Regional Culture

Regional cultures of the world occur both by nation and ethnic group and more broadly,

by larger regional variations. Similarities in culture often occur in geographically nearby peoples.

Many regional cultures have been influenced by contact with others, such as by colonization,

trade, migration, mass media, and religion. Culture is dynamic and changes over time. In doing

21

so, cultures absorb external influences and adjust to changing environments and technologies.

Thus, culture is dependent on communication. Local cultures change rapidly with new

communications and transportation technologies that allow for greater movement of people and

ideas between cultures.

Fashion and Culture

Since culture is understood as a whole way of life, it is obvious that fashion and style

cannot be left out when we are talking about culture. It is integrated and powerful in people’s

everyday life. It has to be understood as a way to communicate within a system of institution,

organization, groups, and conventions. People use fashion as a non verbal way to communicate

through symbols, which generate meanings in everyday lives. Fashion provides people with a

voice. Some groups use fashion as tools of expression to protest against social standards and

signalize difference such as, military camouflage pants, emblem of royalty etc. The genesis of

dress starts with first adornment of the upper palaeolithic age. In ancient times, evidences about

clothes and garments come from artistic representations such as rock paintings, tomb reliefs,

papyrus paintings or sculptures. From pre-historic to Graeco- Roman period, in early Indian and

Middle Eastern and Far eastern regions, fashion was subject to cultural changes, which was

accompanied by countless practical inventions and discoveries. Throughout the history of

humankind, fashion relics have been used as a way to reconstruct the contemporary history and

cultural manners of the period and the particular state of art.

Market Culture and Consumer Culture

Market Culture and Consumer culture is premised upon the expansion of capitalist

production which has given rise to a vast accumulation of material culture in the form of

consumer goods and sites for purchase and consumption. This has been greeted as leading to

greater egalitarianism and individual freedom by some and is regarded by others as increasing

the capacity for ideological manipulations and seductive containment of population from some

alternative set of better social relations. And also the emotional pleasure of consumptions, the

dreams and desires which became celebrated in consumer culture imagery and particular sites of

consumption generate aesthetic pleasures. Consumer Culture which penetrated western world

has now intermingled with the Indian society. The household goods,cars, fashion goods etc. are

very much popular every where in Indian household.

Culture and Globalization

Both the words, culture and globalization are terms that acquired great visibility in the

last two decades.

In general, “globalization” refers to a set of processes involving interaction between

different peoples, institutions, communities and organizations across political and culturally

constituted borders. It is a complex and historically dense set of processes which like culture

itself, may be simultaneously conjunctive and entirely contradictory. It can be viewed from three

angles:

22

1. As processes which are largely constituted around changes in the global capitalist

economy as the latest phase in the history of imperialism. In Indian context, globalization is

referred to as an actual process of integrating the Indian market to the world market.

2. Culture and globalization are key terms literally sprinkled in Media. There is

globalization of cultural forms. Globalization is driven primarily by communications, media and

cultural ‘flows’ (the notion of globalization is seen as new form of imperialism

(Americanization), in which the US is the de facto world government. The globalization of

cultural form is achieved notably through advertising, logo promotions and its connection with

entertainment. The iconic figures of cultural industry get to be associated with products as icons

of mass-selling leading consumer brands. Names of Amitabh Bachchan, Sachin Tendulkar and

Shahrukh Khan and recently Mahender Singh Dhoni and Hritik Roshan become important from

this perspective.

3. As a relatively new phenomenon, involving the formation of institutions that have

transcended older political and organizational institutions like nation.

4. Globalization is articulated through various socially constituted formations- global,

national, imperial, regional and local.

Globalization has deep roots in history, but is assuming a more formidable demeanor through the

conduit of new media and information exchange processes which are drawing complex

ideologies and meaning into greater contiguity and contest. Recent changes worldwide that can

be encompassed under the broad rubric of globalization have brought about some osmosis

between the specialist and popular concepts of culture

Oral Culture and Narratives

Periodization analysis has tended to treat orality as a closed cultural system, beginning

somewhere between 60.000 and 1, 00,000 years ago ending with the arrival of writing (4000

B.C) or movable print (Europe, A.D 1451). Oral culture may be characterized by pre-eminence

of orality, though this fundamental language technology may have been supplemented by

graphic and artistic forms, dance music, rituals and other meaning codes like smoke signals. In

any case the beginning of the technology of language remains elusive since spoken language

leaves no residue, no artifact for archaeological investigation. Language a complex system of

communication is associated with the migration of humans across the globe and the imperatives

of new forms of economy, environmental adjustments and social organizations.

Narratives concern the ways in which the stories of our culture have been put together.

Narratives can inform versions of past and have the power to shape how the present might be

understood in relation to them. In folk tales the same stories may be narrated in multiple ways.

Social and historical events are shaped by discourses and these have often narrative dimensions.

The traditional value system and the spiritual flight have been passed from one generation to

another through oral and narrative traditions of the Mahabharata and the Ramayana etc.

Narratives are common to all societies and are presented in many different forms such as oral,

visual, filmic, television, written etc.

23

Conclusion

Thus, the study of the varities of culture in the Indian subcontinent help us to understand our

multifaceted cultural heritage. With the passage of time, the cultures at different levels have felt

the influences of changing environment and technologies. Recent global changes have brought

about greater interaction between cultures leading to new forms.

Long Questions:

1. Discuss the varieties of Culture.

2. Discuss the impact of globalization on Indian Culture.

3. Discuss briefly the difference between high culture and popular culture.

4. Differentiate between tribal culture and folk culture.

5. Discuss the tradition of courtly culture in Indian history.

6. Media culture often has great impact on the minds of people. Discuss.

7. Do you agree with the view that films, music cassettes and fashion are expressions of

Indian culture?

8. What is Consumer culture?

Suggested Readings:

1. B.P. Sinha, India’s Culture- The State, the Art and Beyond, Oxford University Press, 1998.

2. Boris Erasov and Yogendra Singh, The Sociology of Culture, Delhi, 2006.

3. Toby Miller, A Companion to Cultural Studies, MA, USA, 2001, 2006.

24

LESSON 2C

SOCIAL CONTENT OF CULTURE

(Select Examples) T.K. Venkatasubramanian

Department of History

Delhi University

(I)

Mahabharata T.K. Venkatasubramanian

Any epic literature generally documents a period which is prior to that of early recorded

history. The epic is essentially a literary crystallisation of the heroic ideal. Epic literature is

intrinsically a part of the oral tradition, composed, compiled and collated over many centuries

from bardic fragments and enriched with interpolations of later times. The appeal of the epic

varies in accordance with the particular society to which it relates at particular points in the text.

(1) The narrative sections of the epic seem to depict societies of tribal chiefships moving

towards to the change to a state system with monarchy as the norm.

(2) The didactic sections in contrast assume a highly stratified society with frequent

reference to caste functions than lineage functions.

(3) The epic involves the class and kingdoms of virtually the entire northern half of the

subcontinent, but the core narrative focuses on the Kuru and Panchal territory of the upper doab.

(4) Dominant archaeological culture of the region is PGW (Painted Grey Ware) succeeded

by NBPW (Northern Black Polished Ware).

(5) Genealogies as given in the epic provide a series of lineage patterns.

(6) The central events revolve around conflict between collateral cousins on the succession to

a political inheritance. The right of primogeniture was still in a state of flux.

(7) The first big occasion for gift giving in the epic is the rājasūya sacrifice to be performed

by Yudhishtra, described in Sabhaparvan.

(8) Slaves are generally said to be those captured in war or born of slave mothers or reduced

to slavery as a result of loss in gambling.

(9) Epic society as depicted in the narrative sections has little use for the storing of wealth

and there is a constant urging that it be distributed.

(10) Bhagavadgīta is a conversation between two kshatriyas on the battlefield where one of

the warriors, Krishna presenting himself as God incarnate, convinces the other warrior of the

necessity of returning to the battle.

(11) The marriage of Arjuna to Subhadra, a cross-cousin marriage, is much celebrated in the

southern versions, while it is a problem to be dealt in northern versions.

(12) The dicing scene is one of the pivotal scenes in the Mahabharata. At its conclusion the

Pandavas have lost their kingdom. Draupadi has been molested and humiliated and war between

the Kurus and Pandavas is inevitable.

(13) Kunti, Madri and Gandhari’s situations provide rich narratives on how people struggled

with the ordeal of infertility during the epic age. Diversity of worldviews are possible on this

issue then and even now.

(14) There are many instances of challenges and responses in Mahabharata. The problem is

political and sacrificial violence and a whole range of solutions have been offered from

Mimāmsa’s denial that killing in sacrifice is harm, to Sānkhya and Yoga position that

householders should perform only vegetarian sacrifices to Bhagavadgita’s Karmayoga. The

25

mechanisms available in the tradition for addressing challenges is equally important. The ritual

verbal contest allows the authors to articulate new questions and yet stay within the boundaries

of older sacrificial discourse.

(15) The study of folklore and the living tradition of Mahabharata cults throw a new light on

the relationship of the epic with its rural traditions prevalent in various parts of India.

(II)

Perceptions of Ajanta’s Past

Vikas Kumar Verma

Ramjas College

Delhi University

Art forms are important constituents of any culture. Since the writings of scholars like

James Fergusson, James Burgess, John Marshall and others, histories of Indian art have

witnessed change over the years with the inclusion of more information, new discoveries and

multi-dimensional perceptions and conceptualizations. Here, we would consider the visual and

written creation of art remains at Ajanta, located on the Deccan plateau northeast of Bombay, to

observe the social content what gives the past meaning. This was discovered by a British official

in 1819. The architecture, sculpture and paintings here belong to different phases ranging from

the 1st century B.C. (Satavahana period) to the 5

th century A.D. (Vakataka-Gupta period).

(1) The paintings at Ajanta were produced in a social context. The paintings during each

phase show unity of execution. In other words, these reflect the guild tradition which

promoted work in one accepted style. The portrayal of animal and plant forms were

created by the guild artists who were not monks or ascetics. So, these paintings are not

merely religious art but rather symbolize a form of popular art.

(2) Ajanta’s paintings exhibit a distinctive style in its plasticity and fluidity of line, but these

also show influence of paintings at Badami and Bagh.

(3) Ajanta style had deep imprint on the later forms of popular art. For example, it became a

source of inspiration for artists involved in the revival of a nationalist school of Indian art

in Bengal in the early 20th

century. Since then, Ajanta’s past emerged as a significant

symbolic icon of the cultural politics of India. In the early 1950s, it was recognised as an

international treasure and paintings and other remains were preserved with the assistance

of UNESCO. The penetration of Ajanta’s remains into popular culture can be seen in the

form of postcards, posters, hotel decorations, etc till today.

(4) Multiple styles at Ajanta suggest continuity and change alongwith interaction of different

cultures during different phases of history. The paintings depict contemporary society or

life, not only in the Deccan but also in other parts of India. For example, the scenes from

the Jatakas (which portrays the conditions in North India) reflect life in northern India.

This means that the artists came from all over India to work at Ajanta.

(5) Royal patronage played important role in the developments at Ajanta. In this context, the

remains indicate that the driving force behind the patronage was political and not

religious. Thus, patronage was bound to be influenced by any political change.

(6) The panels at Ajanta present the contrasts in the material culture between the Satavahana

period and the Vakataka-Gupta period. The differences or transformation can be easily

observed in the dress-pattern and ornaments worn by women and men in different phases.

For example, the heavy anklets of the Satavahana period give way to very thin in the

Vakataka-Gupta period. Similarly, in the Satavahana period, men covered the head with

a turban which was wound round the head in tiers, but in the latter period the simple

turban was replaced by very elaborate gem-studded crowns worn by kings and princes.

However, the common men sported long hair with rolls and curls.

26

(7) The colour of the garments also underwent change. In the Satavahana period, the

garments were usually white while in the Vakataka-Gupta period these became colourful.

(8) The change in life-style is also reflected in the use of other objects too. In the earlier

period a common man used simple furniture and the royalty used a seat with side arms

but without a back, which was influenced by the Roman empire. By the Gupta period,

seats with a back but without arms became common as it allowed seating in Indian

fashion with cross-legged posture. The royalty now used elaborate and adorned thrones

with animal supports (simhasana) and a high back.

(9) The arms and weapons too became advanced and effective with the passage of time. The

Satavahana bow was a simple one with single curve. In the later period, the bow was

made of two pieces of horn or wood and joined by a metal plate. The swords were rare in

the earlier period but by the Gupta times they came to be used widely. Likewise, the

light two-horse chariot was replaced by a four-horse vehicle with a box-like frame used

by the royalty.

(10) The layout of the dwellings are also shown differently. In cave 10, the Satavahana

monastery is laid out with an open courtyard in the centre with rooms on all sides. This

plan is similar to that of the rock-cut viharas in Western India dated from circa 2nd

century B.C. to 2nd

century A.D. The dwellings of the later period consist of a set of

rooms with a verandah in the front.

(11) Ajanta paintings, nevertheless depict the contemporary life observed by the artists. This

can be clearly seen in the depiction of the Buddha and stories related with his life. They

probably could not visualise the life in the 6th

century B.C. For example, the Buddha is

always shown as wearing a robe. In cave 17, the Buddha is with a robe of a monk

whereas Rahul, his son, is wearing shorts and a sleeved tunic. This suggests that the

Indian artists generally lacked the perception of the past and while portraying the past

events, they consciously painted contemporary life. This is very much true for secular

themes, though in religious subjects they were guided by traditions and certain

conventions. In the case of religious subjects the donors and canons restricted the

creative freedom of the artists.

Thus, the paintings at Ajanta symbolize the mixing of past and present with both

elements existing simultaneously.

(III)

Nataraja Cult and Social Content of Chidambaram Temple

Parul Lau Gaur

J.D.M College

Delhi University

(1) Temple as a place of worship is conveyed by various terms like a house of God

(Devagriham), residence of God (Devalaya) and the waiting place (Mandiram).Earlier

temples have received attention due to their existence as grand monuments. The

sacredness and structural significance of the temple is not to be measured in architectural

terms only. Temple as a monument is not to be considered in isolation.

(2) Temples can be treated as an object of study. They are expressions of society and culture.

They played a vital role in the construction of the society. The temple inscriptions

informed viewers about its multifarious significance. The patronage provided by dynastic

kings helped to establish a special relationship between Kings and patronized temples,

the endowments and grants made to the temples reveal the composition of the social

groups existent in a particular society and also the element of contestation and

27

domination among the social groups are highlighted in temples. Temples therefore are the

best evidence available on the important changes in the society and also provides answers

to the cause of those changes.

(3) Temple’s role in moulding the society is illustrated by a case study of Chidambaram

temple and its associated Nataraja cult. Chidambaram is mainly a temple city and a

famous Saivite centre. The place of pilgrimage (Tirtha) in India boast a collection of

legends and hymns known by the name mahatmyam which gives genesis of

Chidambaram temple and evolution of Nataraja cult. The legends when meaningfully

interpreted provide assistance in the re-construction of cultural traditions. The legends

started accumulating when the Chola state started emerging. The Chola monarchs by

patronizing Chidambaram temple legitimized their power. Patronage to Nataraja cult is

reflective of change which occurred in the idea of kingship of Chola Empire. There was a

shift from cult of royal linga to a Pan-India sanskritized God which offer Cholas a more

universal legitimacy.

The performance of ananda tandava dance in Chidambaram for both Chola kings and

bhaktas is indicative of the increasing importance of bhakti in society. With the bhakti

movement the lower class reject the orthodox Brahman dominance.

The legend describing the dispute between Siva’s consort Kali (representative of

matriarchal society) and Siva himself (symbolizing patriarchal society) and Kali’s defeat can be

viewed in the context of subjugation of matriarchal society and dominance of patriarchy.

(4) The temple traditions at Chidambaram show that all Chola Kings were devotees of Lord

Nataraja who maintained intimate associations with Chidambaram. After Cholas,

Pandyas played a central role in ritual patterns of Chidambaram, a role that no Chola or

Pallava ruler had taken up inspite of the rulers close connection with the place. From

fourteenth century onwards there was a rise in priestly power and political ties in

Chidambaram weakened. The temple tradition of Chidambaram showed aspects of

continuity to the tradition and political forces provides the basis for change to take place.

(5) The temple inscriptions reveal different type of donors who endowed freely to the temple

and which gave them an elevated status. The donors of twelfth century were members of

royal family and local chieftains powerful both in terms of land and prestige. In thirteenth

century there was a change in the social balance of the society. A new set of donors were

brought to the forefront namely Settis who acted as grantors of gifts for the first time.

The fourteenth century epigraph reveals the growing tendency of the royalty and royal

officials to endow the temple.

Temple of Chidambaram provided an institutional base around which the society could

re-build its sense of self understanding and social identity. Temple and its related activities are of

significance for the entry it provides in the construction of social, cultural and religious

dimensions of any sanctified place. Temple is a platform in the words of Burton Stein for

“Interactions and Transactions” in a particular society.

28

(IV)

The Cult Of Gisu Daraz

Sanjay Kumar

Shyam Lal College

University of Delhi

The grave shrine of the famous Chisti saint Gisu Daraz at Gulbarga is treated as the most

important object of Muslim devotion in the Deccan. Both as his khankah (residence, when he

was alive) and the tomb-shrine, this cultural edifice has been casting profound social significance

on the popular imagery within as well as outside the Deccani topography. Revered alike by all

sections of society - Hindu-Muslim, rich-poor, powerful-weak, and thereby transgressing all

forms of narrow and orthodox social barriers, this edifice bears the testimony of meteroic rise of

Gisu Daraz (an outsider) to such an exalted position in the politico-spiritual and social life of

Deccan.

Making the cult of Gisu Daraz and its immortalisation (1) Gisu could have been seen as an outsider within the spiritual and temporal circles of

Deccan. But his elevation as the spiritual heir of Nizam-al-Din Auliya and Nasir-al Din

Mahmud and his service as one of the most important spiritual leaders of Delhi, spanning

for four decades brought immense popularity to him. His popularity followed the entire

course of his travel from Delhi to Daulatabad and the prospect of his taking up the

residence in the Bahmani kingdom, created excitement both in the ruling circles

(including the sultan) and the common people. Therefore, he was not perceived in the

Deccan as an outsider.

(2) His Khankah at Gulbarga left imprints on the contemporary Deccani minds through its

religious and spiritual activities organised on daily basis. Gisu’s spiritual lectures and

Khankah's musical sessions not only attracted full time spiritual seekers but also lay

devotees who visited the saint seeking his blessings in their pursuit of more mundane

goals.

(3) The royal recognition and appreciation extended to the saint and his Khankah also helped

strengthening of the cult of Gisu Daraz. The Bahmani state as an Indo-Muslim state

under Firuz (A.D. 1397-1422) was at its political and cultural ascedency. Gisu’s

association to it thus acted as one of the factors contributing to his rapid rise to such an

exalted status.

(4) The Khankah also assumed quasi-political role. Gisu, exercised spiritual dominion over

Gulbarga. Firuz, naturally, sought the blessings of the saint to help secure his own claims

to legitimate authority in the areas and over the people, he ruled. Timur’s destruction of

Delhi has fueled Firuz’s ambition to make Gulbarga the most splendid of India’s

provincial capitals, a true successor to Delhi’s former glory. In Gisu Daraj, he found the

spiritual successor to India’s most distinguished Sufi order and a scholar of formidable

repute, who if adorned his court, his capital would become the true heir to the legacy of

the recently ruined Delhi.

(5) Gisu also contributed to the immortalization of his cult by deviating from the usual norm

of spiritual succession. He had secured his position through his appointment by his

predecessor Nasir-al-Din Mahmud. On his turn, he nominated one of his sons, Saiyid

Ashgar as his spiritual successor and thereby converted the principle of succession

29

through appointment into the principle of hereditary succession. Naturally, He

transformed himself into a cult.

(6) The Bahmani sultan Ahmad also contributed to this process of immortalization. He

constructed the magnificient mausoleum of Gisu and eversince the edifice began to

attract flocks of people on daily basis, thereby converting the tomb into a shrine. The

sultan also gave liberal land grants to Gisu’s successors to enable them to up-keep

themselves as well as the tomb shrine. This added economic strength to the cult.

(7) Although some Sufi saints had arrived to Deccan prior to Gisu Daraj, such as Burhan al-

Din Gharib, Shaikh Zain al-Din Shirazi, Shaikh Siraj al-Din Junaidi and others, Gisu

contributed the most to the stabilization and indegenization of Indo-Muslim society and

polity in Deccan. His career helped transform the Deccan from what had been an infidel

land available for loot and plunder (as the Khaljis and early Tuglaqs of Delhi Sultanate

had perceived), to legally inviolable abode of peace.

(8) By the time of Muhammad Qasim Firishta (d. 1611), the famous Deccani chronicler, the

cult of Gisu Daraj had firmly established itself. He quotes in his Tarikh-i-Firishta that a

Deccani on being asked whom he considered the greater personage, the Prophet

Muhammad or the Saiyids; the Deccani replied that although the Prophet was

undoubtedly a great man, yet Saiyid Muhammad Gisu Deraj was a far superior order of

being. The process of internalisation of an outsider in the Deccan and his

immortalisation as a cult had been completed by that time, as it appears out of the above

quote.

(V)

Cricket as a ‘Cultural Object’

T.K. Venkatasubramanian

Department of History

Delhi University

The unifying role of cricket in a country of both physical and psychic divides has not

been adequately studied. The breakdown of the early political synthesis is reflected in the social

tension and rising aspiration of those classes which have been out of power structure for

centuries. The politics of consensus has been replaced by identity politics. A new volatility is

visible in the assertion by social groups from the bottom of the caste structure. India in the

beginning of the 21st century is desperately in search of an unifying symbol. Cricket is one such

facilitator of integration.

(1) For the cricket loving Indian masses Ishant Sharma and Zaheer Khan are the he-men

handing down death orders to adversaries around the cricket playing world.

(2) Cricket is to India what football has been to Latin America for long. In a society

thwarted by bad governance, corruption and accumulating frustration, cricket takes the people to

a make-believe world of fulfilment. In the victory of the team a fan experiences a success that

has always eluded him. Cricketer has taken over from yesterday’s Bollywood hero.

(3) Social scientists researching the larger meaning of cricket read Mohammad Azharuddin’s

182 at Eden Gardens in 1993, as an important chapter in the social history of the game. Winning

the Calcutta test against England is the most significant aspect of this happening.

(4) Brian Lara’s 375 against England came in the backdrop of a social debate among the

Carribean people about their cultural propensity caught as they are between America and Great

30

Britain. Lara came to embody the Island’s old ties with England by a flash of his cricketing

genius.

(5) Cricket has accommodated every social segment and reflected its hopes and ambition. It

promoted Sachin Tendulkar (from a middle-class Brahmin family) and Vinod Kambli (a Dalit

from Bhendi Bazaar) together. Both captured the nation’s imagination and became folk-heroes.

(VI)

Reading the Film ‘Lagaan’ T.K. Venkatasubramanian

Department of History

Delhi University

The twentieth century has been the century of the moving image just as the nineteenth

century of the still photograph. What particularly characterises film is motion and emotion. The

Americans identified the key quality of the new medium and nicknamed films ‘the movies’ while

the British called films ‘the flicks’ or the ‘pictures’. Film studies developed out of English

Literature and Cinema History out of the discipline of History. Both the fields come under

cultural history in a wider sense. Film can be legitimately treated as a cultural object. Lagaan, is

basically a film with a peasant hero. The following social content can be observed in this flim.

(1) The composition of Team Champaner is representative of a mini India. You have the

Hindu-Muslim-Sikh triad, people from various occupations and social settings (various castes)

and a dalit as well.

(2) The cricket match itself is carefully constructed, the eleven plus boy Tipu and coach

Elizabeth contribute to the win. Elizabeth brings in the Christian component.

(3) Three performances that turn the match are the leg-spinner’s hattrick, the injured

batsman’s heroic innings and the captain’s century with the last ball six. These feats were

performed by the handicapped dalit Kachra, the Muslim Ismail and the peasant hero Bhuvan.

(4) Kachra’s disability should be seen as the physical symbol of his social standing. Kachra,

the dalit suffers a double handicap, physical and social.

(5) The struggle against the colonial oppressor is brought out through non-violence.

(6) The depiction of the raja as a closet nationalist conveys Gandhi’s idea that the national

movement should not extend to the Indian princely states.

(7) Unity of classes of the colonised against the coloniser is portrayed.

31

LESSON 3A

(i) Sanskrit Kavya- Kalidasa's Ritusamhara

Sanjay Kumar

PGDAV College (Evening) Delhi University

Introduction

Kalidasa is one of the literary genius and great dramatist of our country as his dramas

and poems are unparallel and bringforth the scene in front of the eyes as we go on reading his

works. He was the court-poet and one of the navratna' at the court of Chandragupta

Vikramaditya (357-413 A.D). His writings viz. Meghdoot, Ritusamhara (lyrics), Raghuvamsa,

Kumarasambhava (epics); Shakuntala, Malvikagnimitra, Vikramorvasiyam and Abhijnan

Shakuntalam (Plays), Urvasi, etc. are few which are the best and cannot be easily forgotten. His

birthplace was probably somewhere in Malwa and from his glowing description of Ujjayini it

appears that he was a resident of that city.

According to a tradition, he was an illiterate and after being rebuked by her learned wife,

Kalidasa was said to have called the goddess Kali for help and was rewarded with a sudden and

extraordinary gift of wit and poetic excellence; The word Kalidasa means the slave of goddess

Kali. Kalidasa was a devoted worshipper of goddess Kali as well as of Lord Shiva. He seemed to

have travelled a great deal throughout India and his graphic description of the Himalayan region

supports it. He was well-versed in the Vedas, the philosophy of Upanishads, the Puranas,

medicines, astrology and astronomy. According to Vincent Smith, Kalidasa's literary career

extends over a period not less than thirty years.

So far as the writings of Kalidasa are concerned, the nature has everywhere played a

significant role. Even Ritusamhara, the work of Kalidasa under study, contains brilliant scenes

depicting the beauties of nature where the human feelings have been brought in full accord with

the voice of nature. Erotic scenes are interspersed here and there and the poet has successfully

interwoven the expression of human emotions with brilliant and graphically detailed pen picture

of the nature.

Ritusamhara

Ritusamhara is much shorter when compared with his other works. It consists of 144

stanzas of various meters, describing the course of pastoral love, through the six seasons of

Indian year. In order to understand clearly the six seasons of India vis-a-vis Gregorian months, a

table is given below:

32

Ritusamharam (Description of the Seasons) - a work of Kalidasa must surely be regarded

as a youthful composition as it is distinguished by rather exaggerated and overly exuberant

depiction of nature. Ritusamharam where Ritu means season and Samharam means to kill, but,

here it is the garland of seasons or medley of seasons, around a God called year. It is not

annihilation of seasons as per wording - samharam - but here six seasons are the make up

material for the presiding deity of Nature, namely Shiva-Parvati, the five faced God Shiva,

whose five faces symbolizes with five subtle elements of creation. The work contains only one

item - praise of the seasons and yet it has its own prominence in poetry. This work is also famous

for his upama - upama Kalidasaya - simile, with its various shades like metaphor - condensed

simile; pathetic fallacy, personal metaphor, etc.

In this mini-epic there are six chapters - each describing a season and it starts with

Grishma (summer) season. In these different songs, the effects of the season on men, women,

and animals and on nature like creepers, flowers, rivers and forests are described lucidly.

Kalidasa starts with the description of summer as the heat is terrible and oppressive; the ladies

removing the heavy clothes show a preference for the lighter ones; music is being resorted to and

the traveler is not able to see through the clouds of dust raised by powerful winds. Along with

these pictures, we have those of the deer running after the water and deceived by the 'sheet of

blue sky; of the serpent resorting to the peacock's tail for shelter and forest fire playing havoc in

the forest with the help of a friendly breeze.

The dry weather and the extreme heat condition makes the land extremely parched and

thirsty elephants seeking water are not afraid of lions. The elephants, oxen and lions, scorched by

fire have flocked together like friends, giving up hostilities and quickly emerging from grass,

where they are tormented by fire. They rest by a river with broad sandy banks. Everyone yearns

for a few drops of rain to soak the soil. "But even in the time of extreme heat, one gets joy

through mangoes and the cool moonlit nights," writes Kalidasa, "and in some places a wonderful

house with a water fountain, various kinds of jewels and juicy sandal - paste, charming mansion

- terraces nicely redolent of perfumes, wine rippling with the breath of the mouths of

sweethearts, music on a well-strung instruments, inflaming passions - the amorous enjoy these at

nights in summer. Women allay the heat felt by their lovers, by round hips having silk - clothes

and waist band having silk clothes, by their breasts having garlands and other ornaments and

smeared with sandal-paste and by their hair fragrant with the cosmetics used in bathing."

Of all the seasons the Varsa (Rainy) has beauty of its own, satisfying all the five senses

of man at the same time, hence, Kalidasa loves it in the extreme. Kalidasa welcomes the rainy

S.No. Ritu Season Hindu Months Gregorian

Months 1. Grisma Summer Jyestha to Ashadha May - July

2. Varsha Rainy Shravan to Bhadrapada July - September

3. Sharad Autumn Ashaviri to Kartik September- Nov.

4. Hemant pre-Winter Mrigashira to Pousa Nov. - January

5. Shishir Winter Magha to Phalguna January - March

6. Vasanta Spring Chaitra to Vaishakha March-May

33

season in the following terms:

Ahoy! The bewitching cloud moves like a wild elephant,

And with fresh showers it captivates the hearts,

And thunder lightening roars resonant like the beat of drums.

Enthralling the lustful hearts with lovely splendour

The lustrous cloud with his lightening standard

Steps into the sky like an Emperor proud.

Sweetheart, the rainy season has come.

His another lyrics, the Meghdoota is mostly based upon the same material as in the

Ritusamhara but to a great extent, more enlarged and polished par excellence. Thus the river

appears as a woman in this poem, the cataka and the balahaka appear, the abhisarikas proceed in

the light of the lightening in, and the blooming kadamba and the opening ketaki appear in; but

everywhere one misses the exuberance of the Meghadoota. In one of the verses on the rainy

season, Kalidasa writes: "very much frightened in their minds by lightening and the clouds

thundering fiercely and deeply, women closely embrace in sleep their lovers, although they have

(before) behaved themselves badly". In a verse of Ritusamhara, Kalidasa writes:

The muddy rivers with enhanced vigour,

Uprooting the trees from their banks,

Go to their lover the Ocean with furious speed

Like immodest wanton women.

The Sharad (autumn) season comes next to the rainy season which is beautiful in

appearance like a newly bride and the people look forward to celebrate festivals with cheers and

joy. Kalidasa writes: "the earth is whitened by the Kase flowers; the nights by the moon, the

water of the river by swans, the lake by lotuses, the forest region by the saptacchada trees bent

with the burden of flowers and the grounds by the malati. Sweetheart! Sharad brightens the

sequel.” He further describes the beauty of the autumn seasons in another verse as: "the sky,

from which clouds have disappeared, which is strewn with moon and stars, has the magnificent

beauty of lakes, full of blooming lotuses, where the royal swans are sitting, which are adorned

with water having the sheen of markata gems (emeralds)". The autumn remains pleasant but the

afternoon can be hot, that is why, it is almost like a second summer. However, the weather

changes and one can feel the nip in the air.

The Hemant (pre-winter) season shows the sudden nip in the air, the chilly winds in the

morning and night and the biting cold at the end. In the words of Kalidasa, "the Hemant season

arrives which is charming with crops and the appearance of new sprouts, in which the lodhra

tree flowers, corn ripens, lotuses perish and snow falls". He further writes: "in this season the

round bosoms of ladies with beautiful breasts are not (now) decked up by the charming pearl-

strings (which are) white by the colour of sandal-paste, and which resemble snow, kunda flowers

and the moon."

The Shishir (winter) season is more severe form of frost. The temperature drops really

low and the people are seen wearing layers of clothes. Moreover, the severity of winter is not as

34

much as in the western countries. It only snows in the hilly region and the South India hardly

experiences any winter. In this season, the earth is covered with clusters of grown up rice and

sugarcane which is adorned with the cries of krauncha birds stationed in some places in which

the feeling of love is exuberant. At the same time, the people resort to the use of the interior of

the house with the windows closed, of fire, of the sun's rays, of thick garments and of youthful

ladies. The people now do not enjoy nights cooled with the thick fall of dew and the rays of the

moon, which are beautifully adorned by numerous pale stars. Kalidasa writes: "May this cold

seasons always give you happiness, in which sugar-confections are plentiful, (which is) charming

with sweet rice and sugarcane, in which there is much of sexual sports in which cupid becomes

intense, (and which is), the cause of the heartache of those (who are) separated from (their)

lovers."

The next comes the Vasanta (spring), the season of new life, with blooming flowers all

around, charming mango-blossom and sweet music of bees. The Vasanta is popular for harvest

festival celeberated in different parts of India and during it 'fragrant winds blow, evenings are

pleasant and days delightful. On women's face having leafy,decorations and resembling golden

lotuses, the drops of perspiration appear spread beautifuly like the setting of pearls amidst gems.

Kalidasa further writes: "Today cupid is variously stationed-tremulous in women's eye, languid

with wine; pale in their cheeks; hard in (their) breasts; deep in (their) waists and plump in (their)

lips". In another verse he lucidly explains the behavior of cuckoo and bee in the following terms:

"The male cuckoo, intoxicated with the liquor of the juice of mango-blossoms kisses with

passionate joy his mate; this humming bee in the lotus, too is doing agreeable and liked things

for his beloved".

Kalidasa's love for nature is reflected from the following verse: "The young atimukta

creepers whose love blossoms are sucked by intoxicated bees (and) whose tender sprouts are

waved and bent by the gentle breeze, violently excite, when observed, the minds of lovers". He

further explains the mental state of a traveler in this season in the following style: "Seeing the

mango trees in blossom, the traveler, whose mental condition is distressed on account of the

separation from his wife, shuts his eyes, weeps, grieves, close his nose with the hand and laments

loudly". In the end, Kalidasa writes:

Lovely blossoming mango groves are his lovely arrows,

Kinsuka is the bow and black bees its string.

Bright moon is his imperial canopy,

And the spring breeze is mighty elephant.

Kokils sing like minstrels,

Behold ! He has conquered the worlds.

May that victorious Cupid shower benefaction on all.

Conclusion

Thus, this exquisite little poem, in spite of its limitations, does give the assurance of

greatness to come and in itself shows the sensitive mind of the poet, seeking life and beauty in

35

the outside universe eyeing man, animal and nature in one glance. The elegance of description

cannot be expressed in few lines. Ritusamhara is a delightful read as Kalidasa is a poet par

excellence of human love and nature. Prof. MacDonell praised Ritusamhara in unqualified

terms: "Perhaps no other work of Kalidasa manifest so strikingly the poet's deep sympathy with

nature, his keen power of observations and his skill in depicting an Indian landscape in vivid

colour". M.R. Kale observes that the Ritusamhara has nothing to be compared with the

passages from the Raghuvamsa or Kumarasambhava and one is more inclined to agree with

Professor Ryder who says: "The seasons would neither add greatly to his reputation nor subtract

from it".

Long Questions:

1. Write a brief essay on the Ritusamhara.

2. Discuss the salient features of the different seasons of India as described by Kalidasa in his

work

Ritusamhara.

Suggested Readings:

1. B.S. Upadhayaya, India in Kalidasa.

2. M.R. Kale, (tr.) Ritusamhara of Kalidas, Bhartiya Kala Prakashan, Delhi, 2007.

3. R.S. Pandit (tr.), Ritusamhara, General Books, 1947.

4. T.G. Mainkar, Kalidasa: His Art and Thought, 1971.

.

36

LESSON 3A

(II) THE PRAKRIT LITERATURE - GATHA SAPTASATI

Sanjay Kumar

PGDAV College (Evening)

Delhi University

Introduction

When the hymns of Rig Veda were composed, the ordinary tribesmen spoke a simpler

language more closely a kin to classical Sanskrit. The Veda itself gives the evidence of dialectal

differences. By the time of the Buddha (6th

c.B.C.) the masses were speaking languages which

were much simpler than Sanskrit. These were Prakrits which developed in three distinct stages.

The Early Stage (600 to 200B.C.) comprised Pali which became the language of the

Sthaviravadin Buddhists; the Prakrit of the Asokan edicts and the oldest Jain Sutras and the

Prakrit of the early Sanskrit dramas like those of Ashvaghosa. The middle stage (200 B.C. to 600

A.D.) comprised Prakrit passages in the classical Sanskrit dramas, works like Hala's Sattasai and

Gunadhya's Brihatkatha and the Prakrit grammars. These Prakrits include Sauraseni, spoken

originally in the western part of modern Uttar Pradesh; Magadhi, the official language of the

Mauryan court and the edicts of Asoka; Maharastri, spoken in the north-western Deccan and the

non-canonical language of the Svetambara Jains and Jain Ardha-Magadhi which became the

sacred language of the Jains. The third stage (A.D. 600 to 1000) comprises Apabhramsha, a

vernacular of Western India which achieved literary form in the middle Ages and was used by

Jain writers in Gujarat and Rajasthan for the composition of poetry. A similar degenerate Prakrit

was used in Bengal by a few late Buddhist poets, and is the ancestor of modern Bengali.

Gatha Saptasati

The book Gahasattasai in Prakrit, is more popularly known as Gatha Saptasati in

Sanskrit. It is also known as Gahakosa which is a collection of 100 Maharashtri Prakrit lyric and

exotic verses par excellence. Since Prakrit had been a dialect of the masses, it was supposed to

have a better emotional appeal than Sanskrit. This work contains the best selected lyrical poems,

independent, unconnected with each other, full of meaning, abounding in suggestive or

figurative speech rather than in laksana and abhidha, with depth of emotional feelings. It is not a

small wonder that Prakrit poetic composition had reached such a peak in the first or second

century A.D.

The compiler of Gahasattasai is Hala, the Kavi-vatsala (literally 'affectionate' towards

the poet), who was the lord of Kuntala janapada. The "Country of Kuntala” represents the south-

western region of Hyderabad of modern Andhra Pradesh. In a gatha of his own composition, the

Satavahana king, Hala states that he has composed, rather collected, only 700 gathas adorned

with alankars (figure of speech) out of ten millions of such verses. This book provides much

information about the history and culture of Andhra and Maharashtra people during, before and

after his rule especially in the field of social, economic and religious life of the rural people. But

Uttarapatha (generally North India), the Himalayas and the Ganga are not mentioned in any of

the gathas. The river Yamuna is mentioned only once but the Vindhya ranges have been

mentioned time and again. Of the rivers of the Deccan, the Goda or Godavari, the Narmada or

Reva, the Tapi or Tapti are mentioned in different contexts. Hala, the sixteenth ruler of the

37

Satavahana line reigned sometime during the first half of 1st c.A.D. So, the social picture of

culture and civilization which was revealed in the Gatha Saptasati may be regarded as relating

approximately between 2nd

c.B.C. and 2nd c. A.D.

Since Gatha Saptasati is a compilation, we find the names of several poets, men and

women. Among male poets, we have Rairaj (Ratiraja), Mianga (Mrganka), Hala, Pavarasena

(Pravarasena), Kesava (Kesava), Gunadhya, Anirudha, Maarande (Makaranda), Kumarila,

Candasami (Chandraswamin), Avantivamma (Avantivarman), Hariuddha (Harivrddha),

Nandiuddh (Nandivrddha), Pottisa, Bhoja, etc. Among female poets mention is made of Reva,

Sasippaha (Sasiprabha), Roha, Girisuta, Gunamugdha and others. The popularity of the love

songs of this anthology is revealed by the fact that it had at least six versions and eighteen

commentaries. Jain authors also have commented on it. The commentators have compared the

verses of Gatha Saptashati with the dohas of Bihari Satsai. In this anthology of Prakrit love

lyrics, the tender and sensuous feelings are expressed in female voice. The women are chaste,

virtuous and faithful or else unrestrained (Svairini), faithless, mistresses and courtesans. They

talk about landscapes, rain, clouds, peacock dance, water springs, the Vindhyas, the Sahyadri,

the Narmada and the Goda (Godavari), which indicate the locality of the compositions of most of

the verses. The anthology is a rich collection of maxims and popular sayings and throws good

deal of light on popular customs and conventions of the contemporary society. On the whole the

poems centre on separations and parting, about grievances and resentment and above all supreme

love - depicted in a poetic and artistic manner.

Hala's Gahasattasai, Amaru's Amarusataka and Govardhan's Aryasaptasati are the most

important lyrical works, depicting tender and delicate sentiments of love in Prakrit and Sanskrit. These works have exercised considerable influence on later poets like Biharilal who has composed

his Dohachhanda or Aka-grantha (lyrical poem) named Satsai having 700 stanzas in Braj dialect.

Many of his stanzas are based on the Gahasattasai of Hala.

Some of the selected gathas (stanzas) where a sentiment is expressed in a few words, filled

with ideas, saturated with intense emotion are as follows:

No suffering is called worse than the separation of lover and beloved, especially when the

lover goes away. A woman, whose husband has gone far away from home, suffers from mental

distress generated by love. It is known as prosita - patikii in the Sanskrit literature.

1. Under the pretext that the girl had been bitten by a scorpion, she was led in presence of

her husband to the house of her paramour - physician having been held by the hands of

her skilful confidantes, while she was singing round the pair of her hands.

2. In separation she is painful as poison and in union she is very much full of nectar. Has the

creator really made her with both these things in equal proportion?

3. O mother-in-law! The beloved person is ever-charming, as he is pleasant to the eyes

when seen, endearing to the mind when thought of, and agreeable to the ears when talked of.

4. The wanton woman has so tamed the dog with food and drink that it (the dog) welcomes

her paramour, (but) barks at the owner of the house (her husband) when he comes in.

5. The heroine tries to reach her husband by writing a letter, but she was unable to hold the

pen even to write the word Svasti (used in expressing one's approbation in the beginning

of letters), let alone write the letters.

38

6. The heroine is narrating her state of mind to a friend, saying: 'The writing pen being

held in wavering perspired hand, stumbled, 0 dear friend, I was unable to write even

the word Svasti, how could I write the whole letter.

7. Ultimately, when all her hopes were beguiled, giving her expression of her feeling of

anguish on account of love, the maiden 'begs of the moon to touch her with the same

rays, she has touched her lover travelling in a distant land. '

8. Somehow the time passes. It is time form her husband to return. "But what shall I do?

How shall I behave?" She ponders. "Shall I show my anger?" and "will he try to

pacify me?" She does not know how to receive him. When he actually arrived, it was

an occasion of rejoicing, yet she hesitated to adorn herself with festal dress as she

never wanted to embitter the grief of the neighbouring lady whose husband was still

on journey.

9. A lady is talking to a guest: 0 Guest! Since you are suffering from night blindness,

mark properly during daylight that my mother-in-law sleeps here; by negligence you

may not fall on our cot. Here the lady is warning the guest not to come near her bed

as her mother-in-law would be sleeping fast nearby. But actually she is inviting him

to come to her bed in the night.

10. As the two breasts of hunter's wife gradually develop, (the following) five things

(begin to) wither her waist, her beloved one, her relatives, the village youths and her

co-wives.

Conclusion

Thus, the Gatha Saptasati, which is full of lyric and erotic verses was the first and foremost

pioneering work in Prakrit which paved the way for the development of the Prakrit literature in

different parts of India. This literary work complied by Hala, the Satavahana king, provides

significant facts regarding the socio-economic and religious life of people in Andhra and

Maharshtra regions in the contemporary period

39

Long Questions:

1. Write an essay on the development of the Prakrit as a language.

2. Write an essay on the Gatha Saptsati.

3. Analyse the growth of the material milieu at the time of Satavahana King Hala on the basis of Gatha

Saptsati.

Suggested Readings:

1. A L Basham, The Wonder That Was India, Vol. 1, New Delhi, 1981.

2. Jagannatha Pathak, Gatha Saptasati, Chaukhambha, Varanasi, 1969.

3. J C Jain, History and Development of Prakrit Literature, Manohar, 2004.

4. Parmanand Shastri, Gatha Saptasati, Prakashan Pratisthan, Merrut,1965.

5. Radhagovinda Basak, Gatha Saptasati, The Asiatic Society, 1971.

6. Rhys Davis History of Prakrit Literature.

40

LESSON 3 B

INDO-PERSIAN LITERATURE: AMIR KHUSRAU’S WORKS

Rakesh Kumar Ram Lal Anand College

Delhi University

Introduction

This lesson traces the origin and growth of Indo-Persian literature with special reference

to the life and works of Amir Khusrau. Amir Khusrau popularized Indo-Persian literature

through several innovations like ghazlas, panegyrics, elegies, love stories and several prose

works. He took pride in praising the land of his birth in the indigenous Sanskrit and Hindi

poetry.

Origin of Indo-Persian Literature in India

As a literary language, Persian in the 10th

century, performed the same function in the

eastern half of the Islamic world (viz. Iran, Afghanistan, Central Asia, India as well as Anatolia)

as Arabic in the western half (Arabia, Levant, Egypt and North Africa). Both were the cultural

and administrative languages of these two respective regions of the Islamic polity. The Turks,

who came to India towards the close of the 10th

century A.D., were deeply influenced by the

Persian language which had become the literary language of Central Asia and Iran from 10th

century onwards. Thus in India, while Arabic (language of the Prophet) remained largely

confined to a narrow circle of Islamic scholars and philosophers, Persian became the language of

literature and administration. The origin of Indo-Persian language can thus be said to have

commenced with the arrival of Turks in India. Although a part of a larger production of Persian

literature, the Indo-Persian literature specifically refers to the works of those authors who were

native to or wrote in India.

India came into contact with the emergent new Persian culture around the third quarter

of the 9th

century when Sind was made a part of the Safavid kingdom of Iran. But a more formal

relationship between the Persian language and the Indian sub-continent was established with the

formation of Ghaznavid power in Punjab in the 11th

century by Mahmud of Ghazni. Mahmud’s

institutional innovations at Ghazni in the form of the position of malik al-shu’arā’ (poet

laureate), has been considered as crucial for the development of a certain style of royal and

courtly patronage of literature. From Ghazni, the Persian literary culture reached Lahore, which

was the strategic base for Mahmud’s ventures into Hindustan. Besides the plunder seeking

warriors (or ghazis as they were called), large number of Persian speaking people settled in and

around Lahore which became an important centre, politically and socially equal to Ghazni itself.

It gradually attracted scholarly and literary figures from Iran, Khurasan and other parts of

Central Asia. Thus the city of Lahore emerged as the first centre of the cultivation of Persian

language in India and the region of Punjab witnessed the beginning and efflorescence of a high

Persian literary tradition. Among the poets associated with this region and its vicinity (including

Uchh) was the great Abul Faraz Runi and Masud Sa’d Salman, acclaimed by Persian literary

critics as innovators and masters of a new diction.

After the conquest of northern India by the Ghorids in the 12th

century, Delhi

became the capital of the Muslim rulers in India and at the same time Ghazni lost its former

glory and was subsequently deserted. Consequently, the dignitaries, the intellectuals and

enlightened class of people migrated from Ghazni to Delhi which was turned in to an important

and a big centre of Persian learning. From this period onwards, Persian flourished in Delhi and

41

beyond. When Mongols under the leadership of Chenghez Khan ravaged the Perso-Islamic

world, there was a continuous exodus, from these regions, of poets, Sufis, jurists, scribes along

with artisans, courtiers and other men of note, who sought asylum in relatively peaceful

conditions in India. The Persianized traditions of these groups came to be implanted deeper in

the north Indian milieu.

In the meantime, a large number of dedicated Muslim missionaries from Persia and

Central Asia as well as other Islamic lands were active in India. Most notable among these were

Persian or Persian speaking Sufi mystics, whose saintly bearing and passionate preaching were

important elements not only in the conversion of many Indians to Islam but also in the spread of

Persian language and culture. They also laid the foundation for a number of Sufi orders

(silsilahs). Persian lyric poetry has always been popular with the Sufis as a symbolic expression

of their love of the divine and their longing for union with God. Thus the Sufi brotherhoods and

their hospices (Khanqahs) also became instruments for cultivating Persian poetry among the

Indian Muslims. Sufi conversations (malfuz), letters and discourses on religious practice were all

written in Persian.

The sultans of Delhi of the 13th

, 14th

and 15th

centuries, extended generous patronage

to Persian scribes, writers and poets along with the men of piety, through revenue grants such as

imlak, auqaf, idrarat, wazaif etc.The royal patronage to Persian continued even after the

disintegration of Delhi Sultanat in the Muslim kingdoms of Kashmir, Gujarat, Bengal as well as

in the North Deccan under the Bahmanids. They helped extend Muslim rule and with this

Persian language and culture, to most part of the sub-continent, as far east as Bengal and as far

south as Hyderabad. Although for the most part, these dynasties were not ethnically Persian,

they were so culturally and thus became propagators of Persian language, literature and the way

of life.

Persian language and literature in India was further enriched by the contribution of

great Persian poets of Indian origin. Besides Abul Faraj Runi and Masud Sad Salman (of

Lahore), who were pioneers in introducing Persian literature in India, there were many others,

who played no small part in providing a sound base to the Indo-Persian literature. One of the

eminent Persian litterateurs in those days was Tajuddin, a Persian poet of Indian origin. He was

a native of Delhi and lived there during the reign of Sultan Iltutmish. The other two Persian

poets of the indigenous origin, whose accounts are available, were Shihabuddin and Aminuddin.

The former was a native of Badayun while the latter belonged to Sanam situated in the vicinity

of Patiala. In succession to these two poets, there appeared on the scene, two great mystic poets

Khwaja Hasan Sijzi Dehlavi and Amir Khusrau Dehlavi, both of whom were closely associated

with Chishti Sufi hospice of Shaikh Nizamuddin Auliya. Besides their significant contributions

towards the growth of Indo-Persian literature, their poetry is also noted for its sense of universal

Sufi message, transcending religious and sectarian differences. Thus, the Persian writers in

India were either settlers from Central Asia or children of those settlers who spoke Persian as

their mother- tongue or first language. Explaining the cultural situation in which Persian became

an important literary language for people coming from different parts of the Islamic world to

India, Mohammad Wahid Mirza opines that the common language of these people was the same

(Persian) and these early settlers laid the foundation of the Indo-Persian culture, that was to find

its perfection in the 16th

and 17th

century under the great Mughals.

42

Amir Khusrau and his works

Of all the great Indo-Persian poets of the pre-Mughal period, critics (both contemporary

and modern) consider Amir Khusrau as the greatest as he not only excelled all his predecessors

and contemporaries in writing excellent prose and composing all sorts of Persian verses, such as

qasida (panegyrics), masnavis (long narrative poems), ghazals (lyrics), rubai (quatrains) and

qata (fragment of a qasida), dealing with varied subjects like philosophy, mysticism, love and

ethics, but also laid the foundation of Indian style in Persian poetry which served as the model

for his successors under the Mughals. As for the cultural context of Khusrau’s writing, it can be

said that this was the time when, while on the one hand an attempt was being made by the Delhi

Sultans to bring about political centralization in north India, the life in the region itself came to

be influenced by Persian language and culture which was a part of the process of the synthesis of

Indo-Islamic culture. At the same time, Persian itself was influenced by its interaction with north

Indian languages, which was reflected in the use of Hindawi words, concepts and metaphors that

appeared in the writings of early Persian poets of India such as Masud Sad Salman. The shaping

of this Indian-Persian diction, better known to the literary critics as Sabk-i-Hindi, in fact

signified a dialogue between the Persian language and the Indian cultural ethos. It developed as

a result of constant interaction between the literary matrices of India, on the one hand, and of

Iran, Afghanistan and Central Asia on the other.

Abul Hasan Yaminuddin Khusrau, better known as Amir Khusrau (c. 1253-1324)

had an aristocratic lineage. His father, Amir Saifuddin Mahmud was a migrant to this country

and had settled at Patiyali in the district of Etah (Uttar Pradesh). He was enrolled in the army of

Sultan Iltutmish (c. 1210-1236) and was holding the title of amir among the nobility. The poet’s

mother was the daughter of Imad-ul-Mulk, one of the foremost nobles of the realm. Khusrau was

born at Patiyali and after the death of his father was brought up by his maternal grandfather,

Imad-ul-Mulk, who was also a great patron of poets and scholars. Thus, Khusrau not only

received a good education but also spent his early life in the company of poets and scholars of

fame.

Amir Khusrau wrote in a period when art and poetry was intimately connected with

patronage. The poets and artists had to attach themselves to kings or noblemen, for whom they

worked and were rewarded and maintained by the patron, in return. Although patronage had its

own negative consequences (rivalries and jealousy among poets to attract patron’s attention,

flattery and demoralizing obligation and consequently sycophancy) but on the other hand, by

placing the artist/poet above the pressure of material requirements, patronage enabled them to

devote himself whole-heartedly to his work, besides providing the inputs of the impeccable taste

of the medieval Indian aristocracy. Khusrau started writing poetry at an early stage of his life

and as his fame spread he was patronized by several Delhi Sultans and royal princes of varying

temperaments. As a courtier, Khusrau served all his contemporary Sultans of Delhi, who

extended their patronage to him not only for his extraordinary poetic talent and enviable

scholarship but also, as modern scholars say, for the gentleness of his disposition, nobleness of

his behaviour, liveliness of his discourse and ready wit and flowing humour. Khusrau, in his

writings, has therefore, showered lavish praises on his patrons (Prince Malik Chhaju, Prince

Mahmud and Sultans Kaiqubad, Jalaluddin Khalji, Alauddin Khalji, Mubarak Shah and

Ghiyasuddin Tughlaq) in exquisite style to express his gratitude towards them.

43

Amir Khusrau’s works, compiled during 1272-1325 AD, fall in different categories:

1. The five diwans (collection of ghazals, lyrical poems, panegyrics, elegies etc.) - Tuhfat-us-

Sighar (Gift of youth, 1272 A.D), Wasath-ul-Hayat (Meridian of life, 1283 A.D), Ghurrat-

ul-Kamal (Prince of perfection, 1294 A.D), Baqia Naqiya (Remnants of purity,1316 AD)

and Nihayat-ul-Kamal (Pinnacle of perfection, 1325 A.D).

2. The five masnavis, modelled on the khamsa (five masnavis) of Nizami (1141-1202 A.D) -

Matla- ul-Anwar (Dawn of Lights, 1299 A.D), Shirin-o-Khusrau (a legendary love story of

Khusrau and Shirin, 1299 A.D), Majnun-o-Laila (a legendary love story of Laila and Majnu,

1299 A.D), Aina-i-Sikandari (Mirror of Alexander, 1301 A.D) and Hasht Bihisht (Eight

Paradises, 1302 A.D).

3. The five historical masnavis – Qiran-us-Sadain (Conjunction of Two Auspicious Stars,

1289 A.D), Miftah-ul-Futuh (Key of Victories, 1291 AD), Khidr Khan-o-Dewal Rani (Love

story of Khidr Khan and Dewal Rani, also known as Ashiqa, Ishqiyya and Manshur Shahi,

1315 A.D), Nuh Sipihr (Nine Skies, 1318 A.D) and Tughlaqnamah (1325 A.D).

4. Prose works – Khazain-ul-Futuh (Treasuries of Victories, also known as Tarikh-i-Alai, 1311

A.D), Afzal-ul-Fawaid (Greatest of Blessings, 1321-25 A.D) and Izaz-I Khusravi

(Inspiration of Khusrau, compiled between 1283 and 1320 A.D).

While enjoying the patronage of various Sultans and princes, Amir Khusrau wrote a large

number of historical and romantic masnavis providing information on history, culture,

civilization, beautiful landscape; discourses on Philosophy, metaphysics, religion, celestial

science along with romance full of metaphors, similes and imageries. His first historical

masnavi, Qiran-us- Sadain is about meeting of Bukhra Khan, an affectionate father with his

undutiful son Kaiqubad sitting on the throne of Delhi. Sultan Kaiqubad has been typified by

historians as a reckless and silly ruler but Khusrau, through this work has given a glamour and

luster to his name. Although written with a combination of qasidas and ghazals, this masnavi is

considered as a visual commentary of the historical event. The ghazals have been used here to

express the poet’s feelings contemporary with that part of the story which has been described. In

this way the poet, having been present through out the campaign, throws himself in to the scene

and is able to produce a mixture of lyrical and epic elements. Although the subject of the story is

dry, Khusrau makes it interesting by a vivid description of the city of Delhi, its buildings, pomp

and grandeur of the royal court, social life of the nobles and officers, suppression of the

Mongols as well as the flora and fauna in and around the city.

Miftah-ul-Futuh, another historical masnavi of Khusrau, provides the details of the

military campaigns of Sultan Jalaluddin Khalji (an old admirer of the poet), the revolt of Malik

Chhajju (under whose patronage the poet started his public career) and its suppression along

with the victories achieved by the Sultan in Karra and Jhain together with his military advance

to Ranthambore. Another important literary work of Khusrau is Khzain-ul-Futuh, which is a

panegyric account of the first fifteen years of the reign of Sultan Alauddin Khalji. Although a

literary work (prose), its significance lies in the fact that this is the lone contemporary account of

the reign of Alauddin Khalji. Herein, Khusrau has written about Alauddin’s conquest of Gujarat,

Chittor, Malwa and Warangal along with an eye-witness account of the Deccan campaigns of

the Sultan’s commander Malik Kafur. Historical importance of the work also lies in its

description of the administrative reforms of Alauddin Khalji as well as in its geographical and

military details.

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In Khidr Khan-o-Dewal Rani (historical masnavi), Amir Khusrau has brought to limelight

some of the brighter aspects of Alauddin’s character as well as of events ignored in the

contemporary historiography. Although a love story of Deval Rani (daughter of Gujarat ruler

Karan) and Khidr Khan (Alauddin Khalji’s son), it also provides a short historical sketch of

Muslim rulers of India besides highlighting the peaceful and prosperous condition of India under

Alauddin’s rule, after his successful repulsion of the Mongols. Significance of this work also lies

in the fact that while describing Alauddin Khalji’s victory over Gujarat and Malwa it also

provides the topographical details of these regions. The other side of this masnavi is its

treatment of the true romance between Deval Rani and Khidr Khan wherein Khusrau provides a

fresh charm to this romance by adding richness of fancies in its description of the pathos and

passions of wistful longing thus making it a “masterpiece” of romantic literature.

Among all the works of Amir Khusrau, Nuh Sipihr (Nine Skies) is considered as the most

significant not only for understanding his attitude towards Hindustan, but also for showcasing

the virile productivity of his poetic talent. Khusrau wrote this historical masnavi for his patron

Mubarak Shah Khalji who, as a ruler, has not received much appreciation from the historians.

The importance of this masnavi lies more in the fact that it contains multifarious topics such as

praise of God, Prophet, Mubarak Khalji’s accession to the throne, his military expedition to

Deogir, description of Delhi and its superiority over other important cities of the world along

with vivid details of the climate of Hindustan, its flora and fauna, sciences, religious beliefs and

languages. This work is quite remarkable as it is full of pride for the land of Khusrau’s birth and

also for the projection of India as a unified cultural zone despite its diversities in flora and fauna,

language and religion.

Tughlaqnamah is the last historical masnavi of Khusrau which he wrote for his patron

Ghiyasuddin Tughlaq. This work gives valuable historical information about his successful

military campaigns including his victory over Khusrau Khan (a powerful noble and claimant to

the throne of Delhi). Despite providing important historical details through these historical

masnavis, Amir Khusrau is not counted among historians but among great poets. Historically,

however, the importance of these masnavis extends to various aspects. One strong point of

Khusrau is that he has given a lot of chronological details which is considered more reliable than

even that of Ziauddin Barni (most notable among the contemporary historian).Besides, these

masnavis also highlight the contemporary social conditions (an area ignored by the

contemporary historians) along with descriptions of war tactics, military campaigns, cities,

occupations, music and dance. He, being more of a poet and less of a historian is important

because as a poet his choice of subjects was different from the style of writing of historical

subjects. Consequently, the lacunae in the contemporary historical writings can be completed

with the help of his writings.

Besides historical masnavis, Khusrau wrote other masnavis which are considered as

masterpieces, worthy of being compared with the writings of great Persian poet Nizami Ganjavi.

Amir Khusrau’s Shirin-o-Khusrau, is considered as an imitation of Nizami’s masnavi of the

same title. Besides describing the well known romance it contains panegyric for Alauddin Khalji

as well as poet’s own knowledge of astronomy and astrology. Khusrau’s another masnavi

Majnun-o-Laila again is a reply to Nizami’s masnavi of the same title. This masnavi besides

containing a panegyric for Alauddin Khalji, provides a genuine touch to a fictitious romance of

Laila and Majnun. Comparing the writings of Nizami and Khusrau, in Shirin-o-Khusrau, M.W.

Mirza writes that “Khusrau has written this old romance in a highly artistic style in which he

hardly falls short of Nizami.”

45

Hasht-Bihisht, another masnavi of Amir Khusrau, has been widely acclaimed by modern

scholars for its description and perfection of versification. The entire text is full of fictitious

stories, but they have been so beautifully written with excellent expression of narration of facts

that even minor details have not been glossed over. S.S. Abdur Rahman opines that this is the

peculiar feature of this work and no other masnavi of the Persian language can be favorably

compared to it in this respect. Another scholar, Maulana Syed Sulaiman Ashraf also says that

this masnavi possesses all those qualities which are regarded ornaments for the art of writing a

masnavi. Besides masnavis, Khusrau has written a number of Qasidas, diwans and ghazals from

which the readers get a glimpse of Khusrau’s flight of imagination and flow of style together

with the depth of the subject matter.

Another important aspect connected with Amir Khusrau’s life was his leaning towards

Sufism. During his entire life, as a servant of the royal court, he had to mix in societies of

divergent nature, had to take part in luxuries and accompanied his royal patrons in such military

campaigns which at times were also aimed at gaining wealth from the spoils of victory. But

despite being in the company of such divergent class of people he remained a religious man and

a true disciple of his spiritual preceptor, Khwaza Nizamuddin Auliya. He amassed great wealth

under the patronage of his royal masters but he spent all either for his family or friends or for

displaying love for his spiritual guide or for the poor and needy living in the latter’s monastery.

A number of legendary stories have been narrated to describe the mutual love and attachment of

these two, master and disciple. Khusrau sang for his teacher and wrote a number of poems

(Manqabat) in veneration of the Sufi saint. In his Afdal-ul-Fawaid, he has collected a large

number of his discourses. Thus Amir Khusrau had an important role to play in the spread of Sufi

culture in India through his poetry and music. The measure of his devotion to the Sufi saint can

be gained by the fact that Amir Khusrau also did not survive long after the death of his teacher

and died in 1324 A.D.

Amir Khusrau’s Innovation in Indo-Persian Literature

Ziauddin Barni in his famous work Tarikh-i-Firuzshahi remarked that “there were poets

in the reign of Sultan Alauddin Khalji such as had never existed before and have never appeared

since. The incomparable Amir Khusrau stands unequalled for the volume of his writings and the

originality of his ideals; for while other great masters of prose and verse have excelled in one or

two branches, Amir Khusrau was conspicuous in every department of letters. A man with such

mastery over all forms of poetry has never existed in the past and may perhaps not come into

existence before the Day of Judgment.” One of the modern critics of Khusrau’s works, Shibli

Numani also writes that “no person of such comprehensive ability has been born in India during

the last 600 years and even the fertile soil of Persia had produced only three or four persons of

such varied accomplishment in 1000 years”. The various forms of Persian poetry, which were

popular during Khusrau’s days, were qasidas, masnavis, ghazals and rubaiyyats. Firdausi, Sadi,

Anwari and Hafiz were the celebrated poets in these forms of Persian poetry, but their

sovereignty does not extend beyond a certain frontier. Firdausi did not cross the boundary of the

art of writing masnavis, Sadi does not touch qasidas, Anwari had no liking for comparing

masnavi and ghazal; Hafiz remained confined to the art of writing ghazal; but under Khusrau’s

sovereignty lies ghazal, masnavi, qasidas, rubais (rubaiyyats) and other poetic sections which

are beyond calculation. These statements of various modern and contemporary critics alike

clearly point towards an element of uniqueness, an innovation in the writings of Amir Khusrau.

Khusrau began his apprenticeship in poetry by placing the best passages from the

master (Nizami) before himself and trying to model his work on them as evident in his Shirin-o-

46

Khusrau and Majnun-o-Laila. In the former, Khusrau relates the old romance in a highly artistic

style like his master Nizami, in some places he proves himself to be a great dramatist and more

skillful painter of character than the old master. The latter poem written in elegantly simple and

tender style is his first poem of the khamsa and Khusrau in it, proved himself as great a student

of psychology of love and emotion as any Persian poet. Although Khusrau’s romantic masnavis

(also known as Panj Ganj) are closely modeled on Nizami’s khamsa but Khusrau resorted to the

plan of putting into verse the stories and incidents which Nizami had examined and thrown aside

as incapable of artistic rendering.

In the 13th

Century, the trend of poetry and in some cases even the subjects were borrowed

from the Persian literature. Barring Khusrau, Indian poets chose and sometimes copied the style

of their masters. The qasidas, the masnavis and ghazals were thus inspired by Persian poetry.

Although Khusrau wrote his masnavis and qasidas in the conventional style, he stepped on

untrodden paths with absolutely new themes and new subjects. Khusrau’s love for originality

and his contempt for mere plagiarism in thought or style, urged him to infuse a new spirit in to

the old art, to seek out for him a style both original and striking. This endeavor of Amir Khusrau

is most evident in his Qiran-us-Sadain, which was the first long poem written in a masnavi

form. According to M.W.Mirza, his masnavi gives the effect of a picture composed of figures

painted separately and independently and then put together, with a suitable background, to

represent the scene the artist wanted to depict. The most original feature of the poem, according

to Mirza, is the introduction of abayat-i-silsila to serve as headings for different chapters and a

number of ghazals each of which echoes the sentiment of the chapter immediately preceding it

and serves to relieve the monotony of the masnavi. These ghazals also express the poet’s

feelings contemporary with that part of the story which has just been described.

Another innovative aspect of Khusrau’s writing was in the field of selecting contemporary

event as the theme of verses. This is best exemplified in his historical masnavi, Khidr Khan-o-

Dewal Rani. All the characters in it are real whom the poet knew familiarly and had seen with

his own eyes in all the incidents he describes. The story belongs to the domain of history and not

mythology which was the favourite subject of the former writers and yet it has all the charm, all

the romance and all the piquancy of the older stories. Another significant departure in this work

from earlier writings is depiction of a human theme and real human emotions rather than the

artificiality of verse writing traditions.

A feature unique to Amir Khusrau’s writing was depiction of attachment to the land of his

birth and patriotism describing its superiority over other countries in respect not only of fauna

and flora but also of culture and learning. This according to Ayaz Ahmed was an innovation in

Persian literature of supreme importance. This aspect of Khusrau’s writing is particularly

noticeable in both Qiran-us-Sadain as well as Nuh Sipihr. Another innovative aspect of

Khusrau’s writing style, visible again in Nuh Sipihr, was in the method of organization of the

masnavi which has been divided in to nine parts (Sipihr), headed by an introductory verse and

concluded by a ghazal. The innovation of splitting the poem with different metres was an

extremely noble idea as it served to impart freshness and distinction to each part. This originality

of Khusrau’s style of writing can also be seen in Khazain-ul-Futuh where again one notices the

division of narrative in to paragraphs of unequal length, each composed of analogies derived

from a particular thing like star, fire, water etc. This introduced a variety in to an otherwise

monotonous narrative and split it up in to divisions each devoted to a particular topic.

Another field of Persian verse writing, where Amir Khusrau surpassed his predecessors as

well as the contemporaries was the lyrical poetry or ghazal. In the domain of Persian poetry,

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Khusrau is considered as father of Persian ghazal in India just as Sadi was described as the

father of Persian ghazal in Iran. Although Khusrau introduced in to his ghazals the simplicity,

sweetness and elegance of Sadi’s style, he was able to see the lacunae in Sadi’s ghazals and

evolved for himself a lyrical poetry not produced by any Persian poet. The uniqueness of

Khusrau’s ghazals mainly arose from the fact that he was an expert musician and had a keen ear

for melody and harmony and his selection of words imparted the flow and rhythm to the verse.

Moreover most of his ghazals were written in simple but elegant style and the language used

was the ordinary everyday conversation in his time. Besides, while the ghazals of the earlier

Persian writers like Sinai, Rumi and Iraqi were steeped in Sufism, Khusrau’s ghazal was lyrical

in quality as he tried to keep himself aloof from philosophical considerations and made poetry a

vehicle to capture the range of human emotions. Thus by toning down the high seriousness of

the Persian ghazal by his common touch and light humour Khusrau also tried to bring about a

synthesis of Indian and West Asian attitudes. Mohammed Wahid Mirza opines that Khusrau’s

lyrics have a peculiar finesse and subtlety of ideas that most of the Persian poets lacked. Another

modern critic, Mohammed Habib has remarked that in him, for the first time the sustained

ghazal has reached its high water mark.

Amir Khusrau’s Hindi Poetry

As pointed out earlier, Khusrau, unlike his contemporaries, took pride in praising the land

of his birth through a vivid description of its charms and beauties and while doing so he

displayed similar enthusiasm, fervor and spontaneous affection which are marked in the

indigenous Sanskrit and Hindi poetry. Commenting on Khusrau’s famous masnavi, Khidr Khan-

o-Deval Rani, M. W. Mirza writes that “the entire poem breathes of patriotism, the artist’s love

for the land of his birth. It is fragrant with the smell of kewra, the karna, the champa and the

hundreds of sweet Indian flowers and spices, and is luminous with the bright Indian sun and the

pale cool moonlight. The poet sprinkles here and there, words of Indian origin that blend

beautifully with Persian and give to the poem a distinction and a peculiar elegance.” In the same

masnavi, Khusrau has also highlighted the superiority of the Indian beauties and the skills of the

Indian artisans over those of the Islamic world. In Nuh Sipihr, Khusrau advances cogent

arguments to show that India is a paradise and is superior to any other country with regard to

climate and flora. He holds that the science and wisdom which are found in India can not be

excelled and maintains that all branches of philosophy are found here, and the people are well

versed in Physics, Mathematics, Astronomy and other physical sciences. Khusrau’s patriotism

for this land did not allow him to ignore Hindi (Hindawi as it was popularly known) which was

the language of the masses even though he wrote extensively in Persian, the language of the

classics.

Amir Khusrau’s writing of Hindi poetry has been debated by some scholars on the

ground that Khusrau never collected his Hindi verses in his life and no collections were made

immediately after his death and also that the verses that caught the fancy of the populace were

transmitted orally or through private collections to the succeeding generations. But from the

writing of Khusrau himself it is clear that he not only wrote extensively in Hindawi but was also

proud of his knowledge of Hindi. Besides, his Hindi works mention many contemporary events,

manners, customs and even articles which were then in vogue. Moreover, as pointed out by

Ayaz Ahmed, Khusrau chose Hindi doha (couplet) to express his emotions during a highly

sentimental moment of the death of his spiritual preceptor Nizamuddin Auliya in 1325 AD.

Yusuf Hussain writes that Taqi Auhadi, a 17th

century scholar, who visited the court of Jahangir

in 1606 AD, speaks of Khusrau’s Hindi poetry. The famous Urdu poet Mir Taqi Mir confirms in

the beginning of the 19th

century, that Khusrau’s Hindi songs were popular in Delhi up to his

48

times. All these evidences clearly prove that he indeed wrote poems in Hindi, though as he

himself observes, he did not attach much importance to his Hindi pieces and scattered them

among his friends after having scribbled them on bits of paper. It is not surprising in the view of

the fact that Hindawi was the folk dialect at that time and was yet to grow in to a supple

instrument of poetic expression and therefore could not be accepted as a medium of classic

literature which Khusrau intended to produce.

Even though Amir Khusrau never gave a serious thought to his Hindi poetry and

considered it as a pastime, his mastery over the spoken language of Hindustan was remarkable.

One scholar has remarked that while his Persian poetry placed him among the maestros, his

Hindi verses, which most sincerely depict his love of the motherland, earned for him the title of

Tuti-i-Hind (The Tuti of India, Tuti being a singing bird of Persia). This is also reflective of the

popular applause which he earned for his light poetry in Hindi, comprising subjects of Indian

masses. Khusrau’s greatest passion was originality and in the words of M.W.Mirza, he always

wanted to do some thing new, to break away, as far as possible, from the trammels of custom

and tradition and to tread paths hitherto untouched by human feet. It is then easily conceivable

that the same love of innovation goaded him to write Hindi verse in a new style. His greatest

achievement in this regard, a fact recognized by almost all historians of Hindi literature, was that

he was the first poet to use a simple and popular form of Hindi called Khari Boli and in this way

he became the first exponent of the poetic usage of Hindustani which later branched off in to

Khariboli Hindi and Urdu.

Amir Khusrau’s Hindi verses consists of dohas (couplets), pahelis (riddles), mukarni

(verses with double meanings), Do-sukhane (answers with double meanings), Geets (small

songs), ghazals with alternate Persian and Hindi lines, chaupade (quatrain) and a small Persian-

Hindi dictionary known as Khaliq-Bari. His contributions in Hindi verses range from high

philosophical and metaphysical verses to the highly suggestive and erotic songs for the

musicians. His pahelis depict him as a poet of the masses and present him as a native Indian who

had seen the Indian life and culture from the closest angle. Like Kabir, Dadu, Raidas or other

early saint poets of Hindi, Amir Khusrau used mixed language while writing his Hindi poetry as

he was not shy of using any words derived from any source. One can find not only Persian

words blended with Khariboli Hindi; but an admirable sprinkling of dialects like Braj Bhasha,

Awadhi, Bhojpuri, Kanauji, Rajasthani, Purbi and such other forms of spoken Hindi of his age.

At the same time he strove to liberate Hindi from Prakrit and Apabhramsa influences and helped

it to become a Deshbhasha in the true sense of the word.

The variety and range of subjects in the Hindi verses of Amir Khusrau has left the

critics bewildered. He was equally at home with child’s riddles, as with sublime mystic note. His

utmost concern with the flora and fauna, geography and place names add to his versatility as the

Hindi verse writer. His subjects include village women gathering round a well, beloved’s pangs

when the lover is separated, a traveler’s woes and loneliness, the wonders of the firmament and

cosmic powers and many more. This reaffirms that Khusrau composed on commonplace

subjects of essentially Indian life. The variety of his verse forms add to the delight of his

compositions. A few Hindi words, though sparingly used, have also added a wonderful grace

and beauty to Khusrau’s Persian verses. This is how he justified their use in his Persian works. It

has been argued by the modern day critics that Khusrau was as great a classical poet as popular

he was as a minstrel of the masses and it is this characteristic of this poet which earned him the

title of Tuti-i-Hind than anything else.

49

Long Questions:

1. Analyse the factors that facilitated the origin of Indo-Persian literature in Medieval India

prior to the coming of Amir Khusrau.

2. Critically examine the significance of Amir Khusrau’s writings in understanding the history

of his times.

3. Briefly outline the major differences in the literary works of Amir Khusrau and those of his

predecessors and contemporaries with regard to Persian verse writing.

4. Highlight the contributions of Amir Khusrau towards the growth of Hindi literature that

earned him the title of Tuti-i-Hind.

Suggested Readings: 1. Mohammad Habib, Hazrat Amir Khusrau of Delhi, Delhi, 2004 (reprint).

2. Mohammad Wahid Mirza, The Life and Works of Amir Khusrau, Delhi, 1974 (reprint).

3. Zoe Ansari (ed.), Life, Times and Works of Amir Khusrau Dehlavi, Seventh Centenary

commemorative volume, National Amir Khusrau Society, Delhi, 1977.

4. Muzaffar Alam, The Languages of Political Islam in India c.1200-1800, New Delhi,

2004.

5. Yusuf Husain, Glimpses of Medieval Indian Culture, Bombay, 1962.

6. Sheldon Pollock (ed.), Literary Cultures in History: Reconstructions From South Asia,

Berkeley, 2003

7. Ayaz Ahmed, “Amir Khusrau- The Tuti-I-Hind”, in Indo-Iranica, vol. 24, Numbers 1

and 2, 1971, pp. 82-95.

8. S. S. A. Rahman, “Amir Khusrau As A Genius”, in Indo-Iranica, vol. 30, Numbers 1 and

2, 1977, pp. 1-20.

9. Sisir Kumar Das, A History of Indian Literature (500-1399): From Courtly to the

Popular, Sahitya Academy, 2005.

Conclusion

Amir Khusrau was a literary genius, who made significant contribution in the field of

Indo-Persian and Hindi literature. His compositions in different literary forms reflect various

aspects of life ranging from romance to philosophy. The observations based on his own

knowledge of astronomy, astrology, geography, flora and fauna are also praiseworthy.

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LESSON 3C

URDU POETRY AND PROSE: MIRZA GHALIB Rakesh Kumar

Ram Lal Anand College

Delhi University

Introduction

In this lesson the history of the origin of the Urdu language and literature with special

reference to the contribution of Mirza Ghalib is attempted. Ghalib brought in innovations in

verse and prose. The origin of Urdu is generally traced to the advent of Muslims in India

particularly the Turks. While the Turkish army spoke Persian, the inhabitants of the city spoke

Khari Boli. The interaction between military establishments and Muslim immigrants resulted in

the evolution of Urdu as the common languge.

History of Urdu Language

Urdu is a part of Indo-European language and its origin in the Indian sub-continent can

be traced to the advent of Muslims in India. The word “Urdu” has a Turkish origin and it literally

means ‘army’, ‘camp’ or ‘horde’. The Turkish army stationed in Delhi, from the time of the

Ghorids (1193 A.D onwards), was known as Urdu or Urdu-i-Mualla, the exalted army. It is

generally believed that while this army spoke Persian, the inhabitants of the city spoke an early

form of Hindi known as Khari Boli. The interaction of the foreign army with the local

communities led to the amalgamation of indigenous and Persian language spoken in these

military establishments. This process was not confined to the military establishment alone but

extended to a larger cultural level interaction between the indigenous population and other

Muslim immigrants such as traders, travelers, Sufi mystics and other settlers. This interaction led

to the evolution of Urdu as the common language with its distinct characteristics.

Although Urdu is said to have originated in Delhi, scholars like T. Grahame Bailey point

out that the earliest Turkish armies first entered and settled in Punjab and Lahore and frequently

inter-married with the indigenous people. In the due course of time, as a result of this cultural

synthesis, must have spoken the language of the country, modified of course by their own

Persian mother tongue. The basis of early Urdu was thus, old Punjabi, which must not have

differed a great deal with the Khari Boli Hindi. The points of divergence between Khari Boli and

Urdu are very few, the main distinction lying in the fact that while Khari Boli uses few, Urdu

many Persian and Arabic words. In north India, the word ‘Urdu’ came to be applied to this

common language primarily to distinguish it from Khari Boli and Persian. Here it was called

Zaban-i-Urdu, the language of the army or Zaban-i-Urdu-i-Mualla, the language of the exalted

army. In course of time, the word Zaban was dropped and Urdu came to be used alone.

Besides north India, another area of significance in the early as well as later growth of Urdu

was Deccan. Few important historical events have been associated with the early growth of Urdu

in the Deccan. One of these is the imperialistic designs of Sultan Alauddin Khalji (1290-1320

A.D) which led to a series of imperial military expeditions in few parts of the Deccan led by his

military commander, Malik Kafur. Another being, the Deccan campaigns of Sultan Muhammad

Bin Tughlaq and transfer of his capital from Delhi to Daulatabad, during 1326-1327 A.D. These

historical developments helped in the transportation of Urdu to Deccan by the Turkish army,

scholars, Sufi mystics, traders etc. But more important perhaps, was the foundation of the

independent Deccan kingdom of Bahmani, in opposition to the Delhi Sultanat in mid 14th

century. Rulers of the Bahmani kingdom, though Muslims, discarded many of the conventions of

the north and remained intent on developing their own culture. Thus, despite their strong

affiliation with Persian, the cultural language of the Muslims in India, they nevertheless, decided

51

to cultivate their own language in preference to it. They thus adopted Urdu which was influenced

by local vernaculars especially Gujarati and Marathi and subsequently managed to impose them

in large part of the Deccan. However, the language here was not called Urdu but Dakhni or

Dakni. Thus spoken Urdu has two variants; i) Dakhni (spoken in the Deccan) and ii) Northern

Urdu spoken in north India originating from Delhi.

Thus, one of the unique features of Urdu language was its capacity to absorb words and

expressions of other popular languages which in turn, enriched its own vocabulary and

expressions. Besides, Urdu also incorporated historical events, myths and symbols as well as the

poetic meter and verse forms of various Indian languages. All these elements were woven in to a

unified medium of expression giving Urdu language its true Indian foundation. The languages

known from its beginning as Hindavi, Hindi, Gujari, Dakhni etc and which later came to be

known as Rekhta, Urdu, Urdu-i-Mualla or Hindustani has been a common denomination of all

the tongues spoken in the sub-continent. After having absorbed various regional characteristics

and styles in the process of its spread from one corner of the country to another, Urdu established

its own identity through a script of its own, containing features of both Arabian and Persian

scripts.

Growth of Urdu Literature in the Deccan

Between the emergence of Urdu as a distinctively recognizable idiom in the north and its

elevation to the position of a literary language, there is a gap of at least two centuries.

Throughout this period, Persian remained the literary language of the country. It was only with

the decline of the Mughals that Urdu, so long held in check, began to make headway as a literary

language. The first impulse towards this however, came from the south, where it had a

flourishing literary career for about a century and half (1590-1730 A.D). Though Bahmani

kingdom’s contribution to the growth of Urdu literature in the Deccan is considered as

negligible, it definitely gave Urdu a distinct identity. However, it was during the independent

rule of the Adilshahis of Bijapur (1490-1686 A.D), Qutbshahis of Golconda (1512-1687 A.D)

and the Nizamshahis of Ahmadnagar (1496-1633 A.D) that the real flowering of Dakhni Urdu as

a literary medium took place. Sultans of these kingdoms were great patrons of art and culture,

few of them themselves being great scholars. Their generosity attracted literary talent from far

and wide. Although the court language of these kingdoms was Dakhini it was modeled on

Persian literature. Nevertheless, Dakhini retained its indigenous colour in close contact with its

cultural surroundings and vernaculars like Gujarati and Marathi. The desire to spread the

doctrines of Islam also necessitated the use of vernacular and many holy men, who have always

played an important part in the cultural life of Deccan, began to write tracts and even larger

works in Dakhini.

Another important phase in the growth of Urdu literature in the Deccan began during the vice

royalty of Aurangzeb, when large and renewed emigration in to south, brought the cities of south

still more within the orbit of cultural and linguistic influence of the north. Under the Mughal

influence, Urdu (Aurangabadi) acquired a firm footing in those parts of southern India, which

had been longest and most intimately in touch with the north. In effect therefore, there were two

languages current in the Deccan, the language of the outlying provinces where Mughal

influences had not fully penetrated i.e. Dakhini and Aurangabadi (called Hindi in the 17th

century), spoken in and around Aurangabad, which had been in long and direct contact with the

languages of the north. The amalgamation of the linguistic and literary traditions of the north and

south resulted in to coming in to being of a new standard of language and literature which was

called Rekhta. One of the greatest Rekhta poet of Deccan was Shamsuddin Vali Ullah (1667-

1741 A.D), popularly known as Vali Dakkani.

52

Emergence of Urdu Literature in Delhi

Few scholars are of the view that the development of Urdu poetry in north India with

Delhi as its centre, where it also reached its classical stage, was closely associated with Vali

Dakkani. It has been argued that his visit to Delhi in 1700 A.D and the subsequent arrival of his

diwan (poem) in 1727 A.D, created a sensation in the literary circle of Delhi with far reaching

consequences for both Persian and Urdu as literary mediums. Mohammad Sadiq points out that

Vali and his diwan not only helped crystallize the hostility of the people of Delhi to Persian

(language of the elite) but also showed them the way by revealing to them the potentialities of

their own language as a vehicle for poetry. At the same time, it is also believed, Vali, after

having come in to contact with literary and spiritual celebrities like Shah Gulshan, gave up

Dakhini in favour of Urdu-i-Mualla, the spoken language of Delhi, imbibing the features of

Persian poetry in his ghazals. Thus, Vali is considered as not only the trendsetter in Urdu ghazal

in the Deccan but having his impact felt in the north also. However, critics have argued that the

influence of Vali Dakkani on the origin of Urdu poetry in north India, should be accepted with a

little caution in view of the fact that initially, Urdu was the language of the Imperial camp and

Delhi always had a large military establishment. Moreover, as a modern scholar has pointed out

that from the 14th

century Urdu was also the popular song language of the “Delhi singers”,

known as qawwals.

One also has to see the growth of Urdu literature in Delhi in the context of significant

political developments of north India in the 18th

century, which also had its impact on the pattern

of patronage on which, medieval Indian art and literature largely subsisted. The Mughal

authority, in the first half of the 18th

century, was severely challenged due to the attacks of Nadir

Shah, Sikhs, Afghans, Marathas as well as the British. Wars not only decimated the population in

and around Delhi but also created an atmosphere of insecurity. At the same time, the Mughal

court became a stage for the intrigues of various factions of nobles who were busy protecting

their own interest. There were new claimants of power and resources among the diverse group of

the nobility. In the changed socio-political scenario when the court and the nobility were getting

impoverished, new patrons became important. Poets had to seek patronage from new political

masters and therefore had to compose poetry in the language which was spoken in the Imperial

camps and in the neighborhood of Delhi.

The movement in favour of Urdu was also fed by the sneering attitude of Persian scholars

towards the native poets and scholars. But the prestige of Persian was bound up with the

supremacy of the Mughals and when the power of the latter was in its waning phase, the

revolutionary tendencies in favour of Urdu began gradually to take shape. As the possibilities of

their mother-tongue as a medium for their poetry was revealed to the poets of Delhi and as Urdu

as a literary medium took roots here, the status of other languages such as Braj Bhasha and

Persian got undermined. It soon entered its classical phase and continued to prosper until the

great watershed of the revolt of 1857. Persian however, continued to be used for scholarly and

other serious compositions in prose throughout the classical phase of Urdu wherein elitism and

sophistication was maintained. Even the biographical accounts (tazkiras) of poets were written

by the accomplished poets in Persian.

Growth of Urdu Literature in Delhi before Ghalib

Early 18th

century was a period of transition. The fortunes of the Mughal Empire, its

aristocracy and the established nobility were on the decline. But despite the decline of the

Mughal Empire and its aristocracy, there was an emergence of a new and affluent section in

society whose source of the newly acquired wealth was a boom in the trading activities in Delhi

53

and surrounding areas. They aped the ways of the nobility and were described as razil (upstarts)

by the contemporary Persian poets. The new breed of Urdu poets was attached to the household

of this new rich class and nobles as companions (masahibs), which not only provided patronage

to the newly emerging literary medium but also helped to maintain certain cultural atmosphere in

these households.

One of the greatest among the early Urdu poets of Delhi was Sirajuddin Ali Khan Arzu

(1689-1756 AD).Arzu, not only played an important part in championing the cause of Urdu by

asking his famous pupils like Dard and others to shift from Persian to Urdu, but also, along with

others, undertook the task of enriching and purifying it by absorbing in to it as much as possible,

Persian vocabulary, sentiments and imagery. Later, his pupils like Mir, Sauda and Dard carried

this attempt forward. Thus, the movement in favour of Urdu was sponsored chiefly by the Indian

Muslim scholars steeped in Persian culture, language and literature. Their advocacy of Urdu

therefore, took the form of large importations from Persian in to Urdu poetry. Notable

contemporaries of Arzu were Sharfuddin Mazmun (1689-1745 A.D) and Zahuruddin Hatim

(1718-1739 A.D). Hatim was the leading poet of the age of Muhammad Shah, a great patron of

arts and literature and during whose reign large number of poets assembled in Delhi. Despite the

fact that early Urdu poetry was heavily inspired by Persian verse, these early Urdu poets of Delhi

adopted words from dialects current in the vicinity of Delhi and wrote in the idiom of the day,

without conforming to the prescribed usage, spelling or pronunciation of Persian and Arabic

words.

In the later phase of the growth of Urdu literature in Delhi, before the arrival of Ghalib on

the literary scene, prominent Urdu writers of Delhi were Mirza Mazhar Jan-i-Janan (1700-1781

A.D), Mir Taqi Mir (1720-1810 A.D), Mirza Muhammad Rafi Sauda (1713-1780 A.D) and Mir

Dard (1719-1785 A.D). These ‘four pillars’ of Urdu are known not only for purifying and

enriching it but also for introducing ghazal, which later became the most popular form of Urdu

poetry. Mazhar was the first poet to write verses in Urdu modeled on Persian. Sauda was a

versatile writer who introduced many verse forms in Urdu such as qasida (an ode) and was also

to use satire to express his observations of the times. Mir used Urdu as a medium to throw light

on the contemporary life of Delhi after the attack of Nadir Shah and his sack of Delhi. The

brilliance of Sauda’s satires and the pathos and imagery of Mir’s love poems, showed the

immense literary potential of Urdu for the first time. Dard was a famous ghazal writer and was

another important figure in the purification movement of Urdu. By the end of the 18th

century,

the efforts of these poets helped Urdu acquire both strength and credibility as a medium of

literary expression. A modern biographer of Ghalib, Pavan K. Varma, opines that this

development, coinciding with the social acceptance of Sufi tariqah (manner, etiquette) and the

loosening hold of the Islamic orthodoxy, created an appropriate intellectual milieu for it to

replace Persian as the de jure lingua franca of the Mughal court.

Mirza Ghalib and his Age

At the time Mirza Ghalib was born (1797), the Mughal Empire was hastening to its decline.

The Mughal royal family had suffered humiliation at the hands of the Rohillas and then by the

Marathas, who occupied the city for a brief period. The British entered Delhi in 1803 as victors

after defeating the Marathas. Very quickly the infrastructure of British control was established.

The Mughal ruler was made British pensioner and though the Empire lingered for another 50

years, it was shorn of all its power and authority. Theoretically however, the Mughal Emperor

was still the sovereign ruler and the Jats, Rohillas, Marathas as well as the British needed the

Mughal Emperor’s name to give political legitimacy to their de facto power. The court etiquettes

and rituals continued as before, even though the grandeur of the past was missing. The

54

transformation of power to the British was imminent but the survival of the Empire was crucial

for the sustenance of arts and literature.

Mirza Muhammad Asadullah Khan Ghalib (1797-1869 A.D), who was born in this

political background, had an aristocratic lineage. His father, Abdullah Beg Khan, was an officer

in the Rampur army. After his death, Ghalib came under the ward ship of his uncle, Nasrullah

Khan, who was a cavalry officer in the British army. After his death, when Ghalib was just nine,

the latter’s childhood was spent in his maternal grandparents home in Agra in comfort and

shelter. He started writing Persian poetry at an early age, showing his preference to linguistics

and literature over traditional sciences. His guide, Abdus Samad, who was addressed as ustad by

Ghalib, was a noted scholar of Persian and Arabic. Ghalib started writing in Persian at a young

age. But Ghalib’s earliest biographer, Altaf Husain Hali, in his Yadgar-i-Ghalib (Memoir of

Ghalib, 1897), tells us that even at this young age he wrote in Urdu as well. It was sometime

during 1813-1815 (some say 1810) that Ghalib decided to move to Delhi, determined to take his

place among the aristocracy and get his rightful due as a poet. The move perhaps, was also

guided by the fact that the untimely death of his father and uncle had deprived him of an assured

niche in the Mughal capital. Besides, Delhi, the seat of the Mughal court, was a more appropriate

setting for Ghalib than Agra. This aspect needs a little elaboration.

The political turmoil of the 18th

century had forced great poets like Mir and Sauda to leave

Delhi and seek patronage at Lucknow, the capital of the British allied state of Oudh. But at the

beginning of the 19th

century, the British colonial presence in Delhi had imposed a relative

political calm and a sense of security in and around Delhi by suppressing lawlessness and

brigandage. This went a long way in providing an atmosphere in which intellectual flowering

could take place. Ralph Russell, another modern biographer, opines that in the half a century of

internal peace, that followed the British political control, Delhi experienced something like a

renaissance, a flowering of literature and learning. This renaissance was manifested in various

ways, one of which was the radical Muslim religious reform movement, led by the family of

Shah Waliullah, one of the most important thinkers in the history of Indian Islam. This resulted

in a long-drawn out conflict between the traditionalists and the radical reformers. As a corollary

to this, Delhi developed as a famous centre of Persian and Arabic studies related to theology,

attracting students from as far as Balkh and Bukhara in central Asia. The exodus of the poetic

talent to Lucknow was also halted and Delhi again became the centre of a group of distinguished

poets. Urdu too received a new impetus. Shah Waliullah’s son, Shah Rafiuddin produced in

1803, an Urdu translation of Quran, a significant event not only in the history of religious

movements but also in the history of modern Urdu prose, of which it was a pioneer work.

This revival of poetry also owed a great deal to the encouragement of the Mughal court

which, deprived of all far-reaching political power, turned more and more to cultural interests. It

patronized Urdu poetry just as its predecessors had patronized Persian. Under the reign of

Bahadur Shah, who himself was a great Urdu poet and wrote under the title of Zafar, the Mughal

court became the pivot, guiding the efflorescence in Urdu writing. Regular poetic symposiums

(mushairahs) were held at the palace as well as other places in the city. Gradually, the writing

and appreciation of Urdu poetry became essential learning for any aspirant to the cultural life of

the city. Ghalib took his place among the city aristocracy on equal terms and was fully involved

in the intellectual life of Delhi. Prominent contemporaries of Ghalib in the Urdu literary circle

were Momin and Zauq, latter being the officially appointed poet laureate of the Mughal court

and personal ustad of Bahadur Shah Zafar.

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Since patronage was still a major pre-requisite for the growth of literature and the Mughal

Empire seemed capable of providing semblance of it even in the face of its obvious decline,

poets still hankered for the king’s attention. However, one important point to note about

patronage in the Mughal period is that patronage of learning and letters was one of the expected

social functions of the nobility and the established poet could look to receive patronage simply

because he was an accomplished poet. An occasional panegyric of his patron and odes on special

occasions was expected of him, but this was not the basis of this ‘patron-client’ relationship.

Thus, Ghalib never considered writing occasional panegyrics for, both his Mughal and later

British masters, as injurious to his self respect. But the biggest irony facing the leading poets of

the times, including Ghalib, was that despite Bahadur Shah’s patronage, the political condition

had only left the Mughals with the sensitivity to appreciate poetry, but not much resources to

financially reward those who wrote it. Ibrahim Zauq was the royal tutor and did receive financial

remuneration for his services but it was not possible for the court to extend its largesse to many

others. The rivalry between Ghalib (poet laureate of the city) and Zauq (poet laureate of the

Mughal court) can be explained in this background.

It is not surprising to see Ghalib, invoking past in his writings, which was in sharp contrast

to his own financial difficulties in the present. Ghalib’s publicly stated preference for Persian

over Urdu has also been explained in the background of the above phenomenon. It has been

argued that, even though Urdu was the popular living language of the time, it was a product of

political chaos and decline and was also not the lingua franca of the surviving imperial order.

Thus, Hali noted that Ghalib did not consider writing in Urdu as an accomplishment. One of his

frequent lament was that while there were admirers enough of his Urdu ghazal, there were none

to appreciate his Persian odes. Pavan Varma opines that Ghalib’s reaction was in keeping with

the times: an attempt to glorify his past and assert his continued relevance in order to escape the

unpalatibility of the present. But unlike his predecessors and contemporaries, whose thoughts

were dominated by bitter awareness of the decline of the Mughal Empire and yearning for the

return of the former glory, Ghalib did not feel this loss and was prepared to come to terms with

the British dominance. He was fascinated by the material achievements, on which British power

was based and the possibilities for the future, which these achievements opened up.

Ghalib’s Urdu ghazals

A modern biographer and critic, Muhammad Sadiq, argues that judged by the volume of his

Persian verse and the just pride he took in it, Ghalib should be classified as a Persian poet. But he

wrote exquisitely in Urdu and later adopted it as the medium of all his prose, including his

letters. Ralph Russell, another modern biographer, considers Ghalib as one of the greatest poet of

south Asia and greatest poet of two of its greatest literary languages, Persian and Urdu. It is true

that in the initial phase of his Urdu writing, his poetry was heavily impregnated with Persian, but

it was criticized by his friends and parodied by others. Subsequently, he destroyed much of his

over Persianised compositions and wrote in a much simpler and purer style.

Be it Persian or Urdu, most of Ghalib’s verses were written in the form of ghazal, which was

the most popular of the traditional genres of verse writing. The ghazal consists of a series of

couplets, each one of them encapsulating the entire theme. Sometimes however, the theme

continues in other couplets, as witnessed in a few ghazals of Ghalib. But typically, every couplet

of the ghazal is an independent, self-contained entity, thus leaving enough scope for the

changing mood of the poet. One of the distinguishing feature of Urdu verse is that they are not

written but said, and the poet, who says it, presents to his audience (generally in a mushairah) by

reciting it to them, and it is only later that they appear in print. Ghazal is a short poem, rarely

comprising less than five or more than twelve couplets. The range of themes in ghazal is quite

56

vast and any thought, which can be encapsulated in a simple couplet, can be included in its

theme. However, the theme of ‘love’ dominates the ghazal. Urdu poetry, from the last quarter of

the 17th

century onwards consists mostly of “poems about love” and not “love poems” as it was

free from the demands of realism. Ghalib’s poetry is a fine illustration of this. In verse writing

the genius of a poet lies in his range of thought and the style of presentation. Ghalib excelled his

predecessors as well as contemporaries in both these aspects.

For Ghalib, ghazal was not just an exercise in conventional themes but the expression of

thought and feelings which accorded with his own. Although, all the traditional themes of

ghazal, found a place in his verses including that of passionate, all-consuming love of a man for

his mistress, Ghalib brought about innovations in the presentation of the stock character of the

ghazal especially with respect to such themes as love and religion. In the sphere of religion or

mysticism, he showed in a new light, a man’s relationship with God as well as that of God’s role

in the universe. The distinctive, characteristic qualities of Ghalib’s Urdu poetry, identified by his

modern biographers are: i) a keen, unsentimental, detached observation of man, God and the

universe ii) a strong sense of independence and self-respect iii) a strong passion for originality in

what he has to say iv) an ability to enjoy to the last drop, everything that the life brings and v) a

dry, irrepressible and unabashed humor, which he is capable of bringing to the treatment of any

theme, including those, on which he feels with the greatest seriousness and intensity.

‘Love’ in Ghalib’s ghazals

Although Ghalib wrote on diverse themes, the theme of love was dominant, which he

brought out in the form of his ghazals. In fact the term ghazal itself originally meant something

like ‘conversations between lovers’. In a ghazal, the poet lover expresses his passionate love for

his beloved. In the couplets of Ghalib, this aspect occurs with astonishing regularity. He writes of

being overwhelmed by love, of powerlessness in the face of love, of the joy of loving even if

one’s love is not returned, the even greater joy if it is returned. He also speaks of compulsions to

love, even if the beloved spurns him or even if it violates all the social and religious commands

of the community in which the beloved lives. One of the characteristic features of Ghalib, where

he seems to have broken from the traditional ghazal poets is that, while treating the experience of

love in his poems (including his own), he could express it as a detached non-participant observer.

Another important distinguishing feature of Ghalib’s poetry is the unorthodox manner in

which he portrays love and its characters. The love which his ghazals portray is an illicit love.

The poet’s beloved may be someonelse’s fiancee or wife or a courtesan or a handsome boy. Such

type of love and lovers were frowned upon in the medieval Indian society (of which ghazal itself

was a product) and such lovers invariably entailed suffering and distress. Another dimension of

love, depicted in these ghazals is that, the beloved (she or he) may not be a human beloved at all.

The poet may express love for God or for any ideal in life to which he may commit or surrender

completely. Thus in a ghazal (including those of Ghalib), love had both the dimensions-Physical

and Mystic. The poet uses a language and symbolism which enables him to speak on different

meanings of love at the same time.

The depiction of earthly love in the Urdu ghazals of Ghalib and other contemporary poets

has to be seen in the context of its legitimacy in the medieval Indian society. In that age,

marriage was an alliance between families to maintain social status, and had nothing to do with

passionate, romantic love. But marriage did not always prove to be a safeguard against such a

love outside of it. But this love was a severe test for both the lover and the beloved and since

permanent union of lovers was non-existent, love ultimately proved to be a tragedy for all

concerned. It was this stressful love that provided the dominant theme of ghazal. In a society

57

where segregation of sexes was strictly followed, another outlet of love was homosexuality. In a

cultured society of Ghalib’s day, such love, though strongly condemned in orthodox Islam, was a

common place and in practice evoked no hostile reaction. Any such emotional experience of the

poet, found its expression in his poetry and so, one of the ‘beloveds’ of the Urdu ghazal could be

a handsome boy. Another consequence of the segregation of sexes, along with low educational

and cultural level of respectable medieval Indian women, was the institutionalization of the salon

of the courtesan. In a highly conservative society, the kothah of the courtesan, alone provided the

most easily accessible forum for men to mix socially, and without inhibition, with women. This

also provided the setting for much of the symbolism and imagery of the poetic renaissance of the

times. Thus, in the Urdu ghazals, quite often, image of the beloved became the image of a

courtesan.

Another important dimension of ‘love’ depicted in the Urdu ghazals, including that of

Ghalib, is the mystic love, which is often blended with the earthly love. The passionate, illicit

love between two human beings is used as symbols of the similar love of the mystic lover for his

God, his divine beloved. The whole structure of mystic love is built upon the deep emotional

relationship of the lover with God. In this situation, the seeker of God relies on love of God for

guidance without the intervention of the learned or self-proclaimed true guardians of religion.

Such radical methods of the mystic lover are therefore considered by the orthodox as subversive

doctrine or in an extreme form, as blasphemy. Thus the mystic lover shares same dangerous

prospects as the earthly lover of a human beloved at the hands of the society. Moreover, in the

ghazal tradition, the beloved is portrayed as extremely cruel to the lover but the lover accepts,

without hesitation, all the misfortunes, including death. In many of Ghalib’s ghazals, the

expressions of earthly and mystic love are interwoven. Thus, some of his couplets can be taken

in earthly sense and others in divine sense but many of them could be taken in both senses at the

same time. In this way, the standard metaphor, used for human beloved proves to be appropriate

metaphor for the divine beloved too. One such example of Ghalib’s verse based on the above

convention is:

“Though I have passed my life in pledge to all the age’s cruelties

Yet never was the thought of you once absent from my mind”

By the ‘you’ in this couplet, Ghalib may mean a woman or God or any ideal, to which he was

passionately committed or all of these things.

Ghalib and Religion

Ghalib’s outlook on life was a kind of revolt against restrictive morality and his ideas on

religion were in opposition to those of the orthodox. At the time of his arrival in Delhi, the

intellectual life of the city, as mentioned earlier, was dominated by the religious controversies

between traditionalists and radical thinkers. These controversies were not confined to theologians

alone, all educated Muslims were affected by it and, in general terms, allegiance would be given

to one side or the other. But Ghalib’s own position was characteristically different, though his

closest friend, Fazl-i-Haq, was the main protagonist of the traditionalists. Ghalib did not allow

his admiration of Haq to dominate his own judgment. Although we do not possess any detailed

knowledge of the evolution of Ghalib’s views on religion, his own attitude towards God was not

always one of reverence. He shared the views expressed by preceding Persian and Urdu poets

that man was a helpless puppet in God’s hands, yet he is unfairly accountable to God for his

actions. Such sentiments however, occur with a touch of humour in Ghalib’s writings.

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Ghalib’s attitude on religion was akin to those of the Sufi mystic lover of God. He lived

his life by principles, radically different from those of the orthodox, personified in the ghazals as

sheikh, an elder or a religious leader. He rejects with contempt, their doctrine of prescribed

conduct of life motivated by hope of reward and fear of punishment in the life to come. Thus,

Ghalib writes:

“Abstinence wins no praise from me. What thought be it sincere?

Behind it lies raw greed to win reward for virtuous deeds.”

The reference to wine (prohibited to Muslims on earth), the saqi (the wine server) and the tavern,

occur repeatedly in his poetry, but in keeping with the best traditions of the Indo-Persian poetry,

mostly in symbolic terms. Ghalib never kept the Ramzan fast and was prepared to admit it. He

admitted his vices (wine drinking and gambling), ridiculed the sermonizers and in general, lived

a life-style of flamboyance, whenever his financial condition permitted him to do so.

God, according to Ghalib, was not to be found in the idol in the temple or through

obeisance in the mosque. The truly spiritual could not be constrained by such narrow

categorization. Underlying this contempt for religious rituals was a profound eclecticism, a deep-

seated conviction in the brotherhood of the human race, each of them being symbols of the

divinity and love of the one almighty. Ghalib’s secular ideals can be measured from his

expressed desire to ultimately settle down in Banaras (most revered of the Hindu places of

worship). Ghalib’s contempt for established tenets went down well with the eclectic Sufi mood

of the times. This eclectic mood itself had played a catalytic role in the development of the Urdu

language. Although Persian was the court language of the Mughals as well as that of the Islamic

orthodoxy, it never became the language of the masses. The evolution of Urdu, gaining from

Persian, but drawing real substance from the idiom and vocabulary of the everyday language of

the people, thus, also went a long way in bringing about a cultural synthesis.

Following most ghazal poets, Ghalib also uses the common mystic concept of God revealing

herself/himself in the beauty of the universe and therefore equates the worship of beauty with the

worship of God. The embodiment of the beauty worship could be equated with a beautiful

women or a handsome boy. Here we can get a glimpse of the symbolic use of Hinduism, as the

embodiment of the worship of beauty. The orthodox Muslim opposition to the Hindus was also

related to their idol worship. To the mystic thinker like Ghalib however, it is not important

whether they worship idols but whether in doing so, they are expressing in their own way, a true

love of God. The idol, according to Ghalib, was the symbol of irresistible beautiful mistress that

a lover idolizes and adore. She, at the same time, is also the symbol of the divine beloved.

Ghalib’s views on religion may match with the mood of the ghazal of the times but it is true that

his verses were not simply exercises in the conventions of the ghazal, but expressions of his own

beliefs and practice.

Ghalib’s Letters (Prose)

Mirza Ghalib’s literary genius was not only confined to verses but prose as well. His Urdu

prose is mainly in the form of letters. He was a prolific letter writer and some scholars believe

that, his place in Urdu literature would have been assured only on the basis of his letters. Hali in

Yadgar-i-Ghalib, has even remarked that “wherever one looks, Ghalib’s fame throughout India

owes more to the publication of his Urdu prose (i.e. his letters) than it does to his Urdu verse or

to his Persian verse or prose.” Mirza Ghalib’s letters contributed immensely to the evolution of

modern Urdu prose, as most were published in his lifetime. His letters provided the foundation to

easy and popular Urdu. Before Ghalib, letter writing in Urdu was highly ornamental and

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artificial. Ghalib changed the whole course of Urdu letter writing by keeping it simple and

replacing artificial with natural. He made his letters ‘talk’ by using words and sentences as if he

were conversing with the reader. He once wrote to a friend “I have invented a new style through

which correspondence has become conversation. From a distance of a thousand miles, you can

speak through your pen, and enjoy company despite separation.” Although letters took some

time to reach but until the institution of newspaper was introduced, it remained the most

important source of dissemination of news. His letters were very informal and at times he would

just write the name of the person and start the letter. This simple, direct and conversational style

was definitely an innovation of Ghalib in Urdu letter writing. Urdu-i-Hindi and Urdu-i-Mualla

are his two famous books of Collection of Letters.

Most of Ghalib’s letters were addressed to his friends and patrons, his shagirds (Pupils) and

admirers, belonging to all sections and classes of society. Ghalib expended a great deal of time

and effort in their composition as he considered this to be a literary pursuit. Interestingly, his

Hindu shagird, Munshi Hargopal Tufta, was the recipient of the largest number (totaling 123) of

his letters. Aspiring poets also sent him their compositions to seek his advice. In his replies, he

invariably put in a couplet or two of his own and gave a detailed account of how the aspiring

poet was faring. Free of conventional artifice, his letters contained vivid descriptions and witty

dialogues, literary and lexicographical insights, political commentary and more - all in a simple

and supple language.

Thematically speaking, Ghalib’s letters not only give an account of the happenings in the life

of the poet but are also a live testimony to the tumultuous times that he lived in. He was a

witness to the age of decline and end of the Mughal Empire and also lived to see the Revolt of

1857, and its bloody aftermath. Thus, apart from his literary significance, these letters also have

a historical relevance as they provide a detailed first-hand account of the life and times of Delhi

during that period. Ghalib’s letters, especially those after the revolt and re-capture of Delhi by

the British, reveal the poignant pain and agony of a man who sees his city and also his way of

life that he so loved and admired, brutally ravaged and destroyed by the British. But more than

the absence of friends and familiar faces, what hurt Ghalib the most was the absence of people

who could speak his language in intellectual and emotional terms. Thus, in 1861, in one such

letter he wrote to his friend “Delhi people now mean Hindus, or artisans, or soldiers, or Punjabis

or Englishmen. Which of these speak the language which you are praising? ........where is Zauq?

Where is Momin Khan? Two poets survive: one Azurda- and he is silent; the other Ghalib- and

he is lost to himself, in a stupor. None to write poetry and to judge its worth……” In this

manner, his collected letters in Urdu, provide an interesting insight in to 19th

century colonial

India.

Conclusion

Mirza Ghalib is regarded as one among the ‘four pillars’ of Urdu. He became popular for

his contributions to Urdu poetry and prose. He won a number of admirers for his Urdu ghazals.

Nevertheless, his Persian compostitions are also noteworthy. His letters depicting the decline of

the Mughal Empire and recording the life in Delhi during the Revolt of 1857, help us to

understand the contemporary history.

60

Long Questions:

1. Give a brief account of the origin of Urdu language and literature in India. 2. Account for the factors that led to the growth of Urdu literature in north India in the 18

th

century. 3. In what sense Mirza Ghalib’s Urdu ghazal marks a departure from the conventional Urdu

verse writing? 4. Describe the concept of ‘Love’ as expressed in Ghalib’s Urdu poetry. 5. Analyse the significance of Mirza Ghalib’s letters in the promotion of modern Urdu

prose.

Suggested Readings:

1. T. Grahame Bailey, A History of Urdu Literature, Delhi, 1979 (reprint). 2. Muhammad Sadiq, A History of Urdu Literature, Oxford, 1964. 3. Ralph Russell, The Pursuit of Urdu Literature. A Select History, Delhi, 1992. 4. Ralph Russell (ed.), Ghalib, Life, Letters and Ghazals, Oxford, 2003. 5. Pavan K. Varma, Ghalib, The Man, The Times, New Delhi, 1989. 6. Q. Hyder S. Jafri, Ghalib, And His Poetry, Bombay, 1970. 7. Muhammad Mujeeb, Ghalib, Sahitya Academy, 1970. 8. Sayyid Fayyaz Mahmud, Ghalib: A Critical Introduction, Delhi, 1993 (reprint).

61

LESSON 3D

RISE AND DEVELOPMENT OF VERNACULAR LANGUAGE AND

LITERATURE : A SURVEY

Sanjay Kumar Shyamlal College

Delhi University

Introduction

India is a multi-lingual and multi-cultural country. Her multi-linguism is an important

ingredient to her multi-culturalism. India's multi-culturalism has not been an overnight or sudden

development. Instead, it is rooted in her thousands of years of accumulated historical and cultural

progression. This progression, in turn, has been a combined product of her frequent cultural

trysts with contemporary forces which came and settled in India from outside(such as the

Aryans, Turks, Afghans, Mughals, Britishers etc.) along with their diverse cultural components

on one hand and India's own geo-political and cultural diversities, on the other. The genesis of

India's multi-culturalism, therefore, lies in openness and a remarkable degree of her cultural

permeability which has enabled (and is still enabling) integration and assimilation of vital

cultural components from diverse sources.

The root of her multi-linguism is not too far from this genesis. India's linguistic plurality

may also be attributed to this process of cultural synthesis, which has been so thoroughly

influenced, periodically modified and continuously perfected by her own local and regional

cultural variations on one hand, and her ever willingness to assimilate words, grammatical rules,

literary styles and formats of languages of external cultural groups.

This chapter is an attempt to unravel aspects of otherwise a very complex process

involving origin and subsequent development of Indian vernacular languages and literature. It

has been divided into three sections: the first section deals with definition and meaning of vernacular language; the second section attempts to outline the origin and various stages of

growth of vernacular languages in India; and the third section makes a survey of growth of each

of the vernacular literature along with literary masters and their prose and poetic masterpieces.

I

Defining The Term ‘Vernacular’ And Its Meaning

The term vernacular has been derived from the Latin word Vernaculus, which literally

means native or domestic. The Illustrated Oxford Dictionary defines the term (in its noun

connotation) as 'the language or dialect of a particular country', or 'the language of a particular

clan or group', or 'homely speech'. It is further defined (as an adjective) as a language of 'one's

native country; not of foreign origin or of learned formation.'

It appears from the above definition that a language which is either of a foreign origin or

is that of an elite group, does not qualify the application of the term. On the contrary, a language

of commoners and also of local or regional origination may safely be termed as a vernacular

language. In its historical context, one may presume that vernacular languages co-exist with

elitist language(s) in the same human formation. An elitist language, usually, has a rigidly

codified grammar, literary styles and forms. It enjoys the status of principal dialect and medium

62

of literary expression and has a much wider territorial application. A vernacular language, on the

other hand, has much less comparative territorial application and is much less codified

grammatically or otherwise.

In Europe, during the ancient times, Latin enjoyed the status of the elitist language. As

the language of the Great Roman Empire, it had assumed the pan-European character. It served

as the main vehicle for literary expression and was governed by rigid grammatical laws, literary

forms and styles. Other European languages, such as Greek, German, English, French,

Portuguese, Spanish, Romanian, Italian, Russian, Bulgarian, Polish etc., merely enjoyed the

vernacular status vis-à-vis Latin.

In the Indian Subcontinent, Sanskrit has been the oldest language. It has been used by the

elitist circles of different eras. Strict grammatical laws, structured formats and literary styles

have codified this language and its literature. Historically, it this has been in application,

simultaneously or separately, in all parts of north India. In comparison, other languages of India

viz., Pali, Prakrit, Apbhransha and a host of Indo-Aryan languages – Assamese, Bengali,

Gujarati, Kashmiri, Punjabi, Oriya, Marathi, Hindi, Sindhi etc., (hereafter to be referred as the

Indo-Aryan languages in this chapter), may only be treated as vernacular languages of north

India vis-à-vis Sanskrit. In India, south of the Vindhyas, Tamil has assumed, historically, the

status of a classical (elitist) language on similar parameters, as outlined above for Sanskrit. The

other south Indian languages such as Kannada, Telugu and Malayalam, though, prominent in

their respective localities, assume vernacular status vis-à-vis Tamil.

In this chapter, therefore, such classical languages and their literature as, Sanskrit and

Tamil have deliberately been left out. This is due to the fact that the chapter intends to assess and

survey vernacular and not classical languages and their respective literature. Urdu and Indo-

Persian have also been left out, for these have been dealt with separately.

Intext-Questions

1. The term Vernaculus derives its origin from

(a) Latin (b) Greek (c) German (d) French

2. Which of the following statement about the meaning of vernacular language is not

correct.

a. It is the language of common people.

b. It's application is, usually, confined to a specific locality.

c. It has strict grammatical and stylistic codifications.

d. Elite circles, usually, do not use it.

3. Arrange the following south Indian languages in the order of their origins.

(a) Telugu (b) Tamil (c) Malayalam (d) Kannada

4. Arrange the following north India languages in the order of their origins.

(a) Prakrit (b) Pali (c) Sindhi (d) Apbhransha

5. Find the names of at least two prominent texts written of Sanskrit and Tamil Grammar.

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II

Origin And Development Of Vernacular Languages In India

The issue of the origin of Indian Vernacular languages has long and intensely been

debated among prominent linguists. A majority of them co-relate the origin with large scale

tribal migratory movements to India from outside, such as the Negrito, Austrich, Kiratas, Aryans

etc. The progression of Indian languages from Sanskrit, Pali, Prakrit, and Apbhransha to modern

Indo-Aryan languages in north India, according to their opinion, was an outcome of cross-

influences of specific dialects with which these tribes had migrated to India. Similarly in south

India, another set of migrants viz., the Dravidians, laid the foundation of languages, such as

Tamil, Telugu, Kannada, Malayalam as major along with a host of other minor languages.

This section is divided into three parts: part A lays down the general outline of the origin

of the Indian vernacular; part B deals with roots and early development of each of the major

north Indian languages; and part C accounts for the early development of south Indian

vernaculars.

(A) Origin Of The Indian Vernaculars: A General Outline

Some form of language, as a means of communication, might have existed in India in her

pre-Harappan age. However, the first definite evidence of a script and writing comes from the

Harappan civilization. Various seals, found at different Harappan sites, bear some syllables.

Historians believe these to be a part of a well crafted Harappan script. Unfortunately, till date,

historians are not able to decipher this script inspite of plenty of scholarly time, space and

energy devoted in its pursuance. The bulk of the earliest deciphered literature pertain to theVedic

age (1500-600 B.C.).Commonly termed as the Vedic literature, it includes the Vedas,

Brahmanas, Aryanakas and Upnisads. It was followed by an era of classical Sanskrit

masterpieces- the Ramayana, Mahabharata and a series of the Puranic literature.

Simultaneously, plenty of literature was written in other languages, as well, viz., Pali, Prakrit,

Tamil etc. Thence onwards, we find continuity and proliferation of literature in various

languages. Some of the prominent linguists have tried to search the roots of the north Indian

vernaculars in the large scale tribal migration from West Asia from about 2500 B.C., to different

parts of Asia and Europe.One of its branch migrated to North Asia and laid there the foundation

of Semite group of languages. The other migrated to Europe and developed there languages such

as Greek, German, French, English and others. Yet another branch migrated to South Asia ,

entered the North-Western India around 1500B.C.,.and developed Sanskrit, the oldest of known

Indian languages. On the basis of common roots of origination, dialectic and phonetic

similarities, these languages are put in the family of Indo-Europian languages. The North Indian

vernaculars have been given a comprehensive name-the Indo-Aryan languages.

India, south of the Vindhyas, has also witnessed origin and gradual development of vernacular

languages. Of these Tamil, Kannada, Telugu and Malayalam constitute major dialects. Others

like Tulu, Kodgu, Kopta, Kurukh, Malto, Gondi, Kui, Kullami and Brahui are some of the minor

dialects developed therein. Linguistically, these languages have been put under three categories

viz., Dravidian, Andhra and Brahui. The Dravidian languages include Tamil, Telugu and

Malayalam along with a host of minor languages on the basis of common origination i.e. Tamil.

The Kannada is the principal dialect of the Andhra languages along with some minor languages.

Brahui developed independent of these. Historians, however, put these languages in one category

viz., the Dravidian languages.

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(B) Early Development of North Indian Vernaculars

Sanskrit, the oldest of the Indian vernacular languages, remained in circulation between the

fifteenth and eighth century B.C., as Vediki. It developed three major regional variants viz., the

north-eastern, middle and eastern Vediki. It was followed by an era of refined Sanskrit between the eighth and fifth century B.C. This phase continued with the three major regional variants of

the previous era. Due to excessive complications and classicism, which gradually crept in this

language and its literature, it no longer remained a language and medium of literary expressions

of common people. The next phase of vernacular development, therefore, witnessed a bifurcation

of language in classical Sanskrit, used exclusively by the contemporary elitist formation in both

speech and writing formats, on one hand, and Pali, a simpler and much less complicated dialect

and literary medium, used by the contemporary people in general, on the other hand.This phase

remained in circulation between the fifth century B.C to the beginning of the Christian era.

During this phase, another regional variant i.e. the southern, came to be added to the already

existing three such variants, as mentioned above.

Pali, gradually, gave way to a modified dialect, namely the Prakrit. Its marked domination as the

principal dialect continued between the first and fifth century A.D. However, between the fifth

and tenth century A.D., Prakrit developed Apbhransha (corrupted form) of all its four regional

variants. Therefore this era is called as the age of Apbharansha. Finally, from the tenth century

onwards, the modern Indo-Aryan languages began to develop from the four regional

Apbhranshas.

Let us now analyze, in brief, the beginning and early developments of each of the north Indian

vernaculars along with its prototypes. The origin and development of the modern Indo-Aryan

languages, In particular, may well be comprehended through the following chart.

Region Prakrit

(A.D.100-500)

Apbhransha

(A.D. 500-1000 )

Modern Indo-Aryan

Languages

(A.D. 1000-Till present

1. Sindh Brachada Brachada Sindhi

2. Multan and adjoining region Kekay Kekay Lehanda/Multani

(Western Punjabi)

3. Modern Punjab Takka Takka Punjabi

4. Madhya Pradesh Saurasheni Saurasheni Gujarati, Rajasthani

western (Paschimi)

Hindi, Pahari

5. Awadh Ardha-Magadhi Ardha-Magadhi Purvi (Eastern) Hindi

6. Eastern India Magadhi Magadhi Bihari, Assamese,

Bangla & Oriya

7. Maharashtra Maharashtri Maharashtri Marathi

Source: Bholanath Tiwari, 'Bhartiya Bhashaon Ka Udbhava Aur Vikas', in Dr. Nagendra (ed.), Bhartiya Sahitya

ka Samekit Itihas, p.79, Hindi Madhyam Karyanvaya Nideshalaya, Delhi University., 1989

65

Prakrit

Prakrit emerged as a dialect, different from Sanskrit, as early as the Vedic age. By the

time of the Buddha, the masses began to speak this language, which was a much simpler

language in comparison to Sanskrit. Gradually, several associated dialects developed from

Prakrit, such as Pali, Magadhi, Ardha-Magadhi, Sauraseni, Maharashtri etc.. Pali is one of the

important variants of the early Prakrit. Spoken probably in the region of Sanchi and Ujjaini, it

became the language of the Sthaviravadin Buddhism. Magadhi was the official language of the

Mauryan court. The majority of the Ashokan edicts were inscribed in this language. The Ardha-

Magadhi, probably a later hybrid of Magadhi under the influence of the western Prakrit,

eventually, became the sacred language of Jaina monks. Sauraseni, a dialect originally from the

western Uttar Pradesh, was particularly used in drama for the speech of women and respectable

people of the lower orders. Maharashtri was spoken in the north-western Deccan. It was

primarily a literary language, especially, popular for lyrical songs.

1. Apbhransha

It was essentially a vernacular of the western India. Some of its features have been noted in the

Panchatantra of Bhasa (3rd

c.A.D.). Scholars believe that the beginning of the use of this speech

may be traced in the drama Sariputraprakarna of Ashvaghosha. The Mudrarakhshasa of

Vishakhadatta also shows familiarity with this language. The author calls it Dhakki. This

vernacular was used by jaina writers of Gujrat and Rajasthan for the composition of their poetry.

2. Sindhi

The word Sindhi is connected to Sindh. Etymologists believe that it developed from its original

Sid or Sit and began to be referred to the Indus river (Sindhu) and its adjoining tract. The dialect

of this region, eventually, came to be referred as Sindhi. As evident from the chart, its prototype

existed as Brachada during both the Prakrit and Apbhransha phases. From about A.D 1000., it

began to assume the form of modern Sindhi. Some of the early texts, such as Bharat's

Natyashastra (2nd

c. A.D.), Chinese travel accounts (7th

c.A.D.) and the Kuvalayamala (8th

c.A.D.) etc., make sporadic references to Sindhi as a language. It became a regular literary

medium from the fourteenth century onwards.

3. Lehanda/Multani (Western Punjabi)

Lehanda literally means west or sunset. It is also, therefore,known as 'Paschimi'

(Western). It developed as the principal dialect of western Punjab (Multan, now in Pakistan).

Abul Fazl, in his Ain-i-Akbari, calls this language as Multani. It may be inferred from the chart

that it developed from its prototype-Kekay, through the Prakrit and Apbhransha Phases.

4. Punjabi

The term originated from the Persian word Punjab, meaning 'the region/land of five

rivers', (viz., Sutluj, Ravi, Bias, Chenab, and Jhelum). The term Punjabi, therefore, refers to the

principal language developed in this region. It is clearly demonstrated in the chart that it

developed from its proto-type Takka through its Prakrit and Apbhransha phases. From 1000 A.D.

onward, it began to assume its present modern form. Since, the dialect is principally spoken by

the Sikh community, it is also known as 'Sikkhi', or 'Khalshi'. Further, on the basis of use of a

particular script in this language,it is also known as 'Gurumukhi'.

66

5. Gujarati

The name Gujarati developed from its original Gujarat, which in turn, is a modified form of the

term 'Gurjara', one of the branches of the Saka tribe which came to India at about fifth century

A.D. From A.D 1000 the name Gujarat began to be applied to the specific territory north and south of the Mount Abu. Surprisingly, the term Gujarati as a language is first used as late as the

second half of the seventeenth century by Premanand (1649-1714) in his Dasham Skandha. As is

obvious, Gujarati developed from Saurasheni through both the Prakrit and Apbhransha phases.

The beginning of Gujarati literature is believed to be from the twelfth century onwards.

6. Rajasthani

Like Gujarati, it also developed through the Saurasheni Prakrit and Apbhransha phases. Linguists

believe that the early Rajasthani formed one of the dialect groups of modern Hindi as well. They

further point out that some of the hilly dialects, such as Himachali, Kumaoni, Garhwali etc., have

originally been developed by the people of Rajasthan after they migrated to these areas.

7. Hindi

In its present form, it is a collection of 18 dialects. Its early development is marked by two

principal forms viz., the western (Gujarati & Rajasthani variants) and the eastern (in the variants

of Bengali, Assamese and Oriya) Hindi. It also developed in the form of Pahari Hindi, with

Nepali being the dominant language of this group.

Of the 18 dialects, three viz., the Khariboli, Brajbhasha and Awadhi are particularly notable from

the perspective of commendable literature these developed and thereby immensely contributed to

the growth of modern Hindi. The Khariboli originated at around A.D 100 from a local dialect

called Kauravi, particularly spoken in Meerut and adjoining region. Components of other

dialects, such as Bangla, Punjabi, Braj etc., may also be found in it in their original or modified

forms. Some eminent literary personalities like Gorakhnath, Amir Khushrau, Ramananda, Kabir,

Raidas and Namdev etc., extensively used Khariboli in their writings.

The Brajbhasha also developed from Saurasheni Apbhransha. The term 'Braja' literally means

pasture land, symbolizing the western Ganga - Yamuna Doab. The language developed therein,

eventually, employed the same term as its name. Some of the finest early literary specimen of

this language may be seen in the writings of Surdas, Nandadas, Narottamdas, Nabhadas,

Keshavadas, Raskhan, Bihari, Bhushan, Deva, Ghanananda etc.

Awadhi, also known as the eastern Hindi, originated from 'Koshali, the local dialect of Koshal

(one of the Sixteen Janapadas around 6th

c. B.C.). Conventionally, it is believed to have

originated from Ardha-Magadhi. The earliest traces of Awadhi is found in a group of inscriptions

between 200 B.C. and A.D 100, namely Sohgaura, Sarnath, Rumindei, Khairagarh etc.

Hemachandra, Malik Muhammad Jayasi, Kabir, Tulsidas etc., were some of the prominent

literary figures who used Awadhi in their writings.

8. Bangla (Bengali)

Etymologically, the term originated from Banga, the ancient name of Bengal. It developed

through the Prakrit and Apbhransha eastern Magadhi. Bengali is also variously known as 'Gaudi',

'Prakrit', 'Magadhi', 'Gaulli', etc. It is quoted as 'Gaulli' in the Kuvalayamala,the Eighth century

text. The modern Bangla developed as a language from 1000 A.D. It became a literary medium

from the twelfth century onwards.

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9. Assamese

Assamese is the principal dialect of Assam. The name Assam (previously also known as

Pragjyotishpur and kamarupa) is believed to have its root in its medieval Kingdom founded by

the Ahom tribe. From Ahom, developed Assam and from the latter, developed the name of the

principal dialect of this region. The Assamese originated from the north-eastern Apbhransha of

Magadhi. The earliest traces of writing in Assamese appear in the Prahladacharita, of Hema

Saraswati.

10. Oriya

It developed from the southern apbhransha of Magadhi. It is the principal dialect of

Orissa and certain portions of Bengal, Andhra Pradesh, Bihar and Madhya Pradesh. It is also

variously known as 'Odiya', 'Utkali', and 'Odri'. It is referred as 'Udra' in Bharat's Natyashastra

(2nd

c. A.D.). The first instance of its use as a modern language is found in the Urgama

inscription (105 A.D.) of Anantavarman.

11. Kashmiri

Linguists believe that along with the Aryans, another sub-branch of the Indo-European

family had entered India through a place called Chitral and settled in Kashmir and the adjoining

region of Gilgit and Dardistan. Kashmiri language, according to these scholars, developed from

its root Darad Paishachi, the language developed in this region. Darad Paishachi developed into

paishachi Prakrit, which in turn, entered the next stage of evolution as Paishachi Apbhransha.

Eventually, from about the twelfth century A.D., the modern Kashmiri began to assume its

present form.

12. Marathi

The word developed from its root Maharashtri. It was the principal dialect of the present

Maharashtra in its Prakrit and Apbhransha variants, between the first to tenth century A.D. The

earliest reference to Marathi as a language is found in the Kuvalayamala. Subsequently, it has

developed nearly 39 dialects and sub-dialects. Konkani is probably one of the most important of

these dialects, although it has almost assumed the status of an independent language in recent

years. Marathi became a medium of literature from the twelfth century onwards.

(C) Rise and Development of South Indian Vernacular Languages

As we have noted above, south Indian vernacular languages comprise major dialects like

Tamil, Kannada, Telugu and Malayalam, along with a number of minor dialects. Tamil is spoken

principally in the region from Cape Comorin to Chitoor; Kannada in Mysore and parts of

Hyderabad; Telugu, from Chennai northward to the border of Orissa; and Malayalam in Malabar

(Kerala).

1. Tamil Tamil is the oldest of the Dravidian languages. In its literal sense, the word Tamil

symbolizes sweet attribute of this language. It is also known as Urva and Malabar. The vast

literature produced in south India around the beginning of the Christian era as a result of the

three Sangam (assembly of Tamil poets], is the first major literary specimen of Tamil. The

Tolkapiyam, (2nd

c. A.D) text on grammar, refers Tamil in a definite sense of language. As it is

indicated elsewhere, this langauge is not treated in this chapter in detail, for reasons already been

explained.

68

2. Kannada It is also known as Karnat, Karnataki, Kannadi, Kanari, Kenara, etc. Some of the

early texts e.g., the Mahabharata, and the Paishachi Brihatkatha of Gunadhya use some of the

above-mentioned names for this language. Etymological root of the term Kannada is somewhat

disputed. It has been interpreted as the region of 'black soil', 'fragrance', or 'high attitude'. The

earliest specimen of Kannada is found in a prose rock inscription found at Halmidi.

3. Telugu Linguists argue that Telugu has originated from Andhra group of dialects. The term

Andhra has been referred in the context of a tribe of this locality in some of the early texts such

as the Ramayana and the Mahabharata. The etymological root of Telugu is also disputed. Some

scholars believe it originated from the word Trilinga i.e. three hills, symbolizing Kaleshwar,

Shrishella and Mimeshwara which formed the boundary of Andhra Pradesh. Some other scholars

believe that it is the modified form of the word Telugu which literally means southern language.

The earliest use of Telugu may be noticed in some seventh century rock inscriptions of this

region. Regular literature began to be produced in this medium only from the twelfth century

A.D. onwards.

4. Malayalam Originally, Malayalam remained an integral part of Tamil for long. It was from

the fourth century onwards that it began a gradual branching off from Tamil. The term

Malayalam literally means hilly region. A good part of its vocabulary still is indistinguishable

from the early Tamil roots. Of the prominent south Indian languages, it has been the last to begin

literary activities.

INTEXT-QUESTIONS

1.Which among the following was the official language of the Mauryan court?

(a)Sauraseni (b) Magadhi (c) Maharashtri (d) Pali.

2. Which of the following has been called as Multani by Abul Fazl

in his Ain-I Akbari ?

(a) Sindhi (b) Hindi (c) Lehanda (d) Gujarati.

3. Which one among the following is associated to Kauravi,a local dialect spoken in Meerut?

(a) the Khariboli (b) Brajbhasha (c) Awadhi (d) Aadhunik Hindi.

4. Which one among the following has its roots in Darad Paishachi?

(a) Marathi (b) Kashmiri (c) Oriya (d) Bangla.

5. Which one of the following south Indian languages was the last to begin literary activities?

(a) Telugu (b) Kannada (c) Malayalam (d) Tamil.

69

III

GROWTH OF VERNACULAR LITERATURE: A SURVEY

Having discussed the origin and early development of Indian vernacular language, it is

imperative to turn our attention towards production of bulk-loads of literature in each of these

vernaculars by eminent literary stalwarts of successive generations. Emanating eventually in the

form of poetry, each vernacular has exhibited broadly two distinct themes: religious and secular.

In the category of religious literature, major texts were either translated or adapted from classical

texts of other languages, mostly Sanskrit, or were own original compositions in a particular

vernacular.Early poetic compositions in almost all of the Indian vernaculars centered on religious

and mystical themes. This was largely due to the casting influence of the medieval socio-

religious reform movements. The Bhakti and Sufi movements had brought the whole of the

Indian Subcontinent under their sway. The Bhakta and Sufi saints lived and worked in the midst

of the common people. They needed to reach out to them (common people) in order to spread

their socio-religious and philosophical messages. They, therefore, chose local vernaculars for

their speech and writings for the maximum impact. Such spirited enterprises gave tremendous

boost to the growth of vernacular literature of India. The secular poetic compositions also show

two broad trends: first, poetic compositions dealing with grammar or literary styles, and second,

translations/original writings on scientific and mathematical themes.

The medieval literature of Indian vernacular also received strong impetus from court-

patronages. Eminent poets and writers were promoted by various royal courts through generous

gifts and grants. Telugu, for instance, received tremendous support from Krishna Deva Raya(the

Vijayanagar ruler),whose court was adorned by the ‘Ashta-diggaja’, or eight great learned men

of Telugu. Other vernaculars of India also received similar royal support.

In its modern form, various forms of prose writings viz.,-long essays, novels, short-

stories, playwright, newspapers, periodicals and journals etc. have developed as specialized

form of literary works in almost all major vernaculars of India. Poetry is still an important area

of literary works. Themes, metres and tone and tenor of poems have assumed the character of

the modern age poetry Whether prose or poetry, vernacular writings in India have significantly

been influenced by modern course of Indian historical developments. Thus, the advent of the

European trading companies in general and the British East India Company in particular,

activities of various Christian missionaries in various parts of the country, the course of freedom

movement, emergence of modern socio-religious intelligentsia etc., have tremendously

influenced and contributed to the multifarious growth of Indian vernaculars.

Let us make a survey of each of the major Indian vernaculars.

1. Pali

Originally, it meant 'a series, or a line'. Later, it came to indicate the sacred words of the

Buddha, as also the texts which embodied the Buddhist teachings. It signifies the language of the

Buddhist texts. Needless to say, therefore, Pali literature multiplied mostly around the conduct

and teachings of the Sthaviravadin Buddhism.

As it stands today, it includes the scriptures, commentaries and semi-canonical texts. It

consists of three sections called Pitakas (baskets): the Vinaya ("conduct"), the Sutta ("Sermon")

and the Abhidhamna ("Metaphysics").

70

The Vinayapitaka contains the Buddha's pronouncements, spelling out rules for the conduct

of the monastic order. With each such rule, the circumstances, which led the Buddha to

pronounce it, is also given. The Sutta Pitaka is the largest and the most important of these

Pitakas. It has five Nikayas (Chapters).

(i) Digha (Long) Nikaya, a collection of long sermons ascribed to the Buddha.

(ii) Majjhime (Medium) Nikaya, shorter sermons are placed in this group.

(iii) Samyukta (Connected) Nikaya, collections of brief pronouncements on kindred

topics.

(iv) Anguttara (Graduated) Nikaya, a collection of over 2000 brief statements arranged in

eleven sections on the basis of the graduated numbers of topics treated in these.

(v) Khuddaka (Minor) Nikaya, miscellaneous works in prose and verse viz., the

Dhammapada ("Verses on Virtue"), the Theragatha and the Therigatha ("Hymns of

the Elder Monks and Nuns") and the Jatakas, a collection of over 500 poems briefly

outlining folk-tales and other stories to be told in the words of a narrator etc..

The third Pitaka consists of a number of works on Buddhist psychology and metaphysics.

The most important of these books is the Kathavatthu, ascribed to Tissa Mogaliputta (the

Buddhist monk who presided the third Buddhist council at Pataliputra). In the category of the

semi-canonical works, some of the major Pali works are the "Questions of Menander" (Milinda –

Panha), an account of the discussions of the Greeco-Bactrian king Menander and the monk

Nagasena; verse chronicles like the Dipavamsa ("the Island Chronicle"), the Mahavamsa ("Great

Chronicle") and the culavamsa ("Lesser Chronicle"). These chronicles not only portray the

history of Buddhism in Ceylon, but also give valuable information on political and social history.

2. Prakrit

From the earliest times down to the 1st century A.D., inscriptions were composed

exclusively in Prakrit. The foremost among these are the Asokan inscriptions.Later on, many

significant literary texts were written in this language.

Jaina canonical works occupy a very important place in Prakrit literature. The first

attempts to systematize the preachings of Mahavir were made in Patalipurtra council in the 4th

century B.C.; but they were finally rearranged, redacted and committed to writing in the vallabhi

council in the 5th

century A.D. The canonical texts were composed in the Ardhamagadhi speech.

Some of the important Jaina texts are-the Acaranga sutra, which deals with monastic codes,

Nayadhammakaha, collection of Mahavir's teachings, Bhagavatisutra, which sheds some light

on Mahavir's life…, and the list goes upto twelve such texts called Angas. Each Anga has an

Upanga. Later on, many commentaries were also written on these Angas and Upangas.

A number of other important works were also written in Prakrit. Thus Setubandha of

Pravarasena, describing Rama's Ceylonese expedition, is an important poem in Prakrit. Similarly,

Gauda-Vaho of the 8th

century poet Vakpati, is another important Prakrit text which describes

the exploits of Yashovardhan, the king of Kanyakubja .Certain dramas, technically called

Sattakas, were exclusively composed in this language. The Karpuramanjari (c. A.D. 900) of

Rajasekhara is the most important work of this type. Anthologies of detached stanzas on love and

maxims are found abundantly in this literature. The Gathasaptasati of the Satavahana king

Hala,which comprises about 700 stanzas about love depicting the varied phases of south Indian

rural life. Narrative literature such as the Brihatkatha of Gunadhya, are also fairly extensive in

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Prakrit. Among the scientific works, lexicographical works such as the

Paiyalacchinamamala(A.D. 972-73) by Dhanapada and the Desinamamala by Hemachandra, are

important Prakrit literary works.

3. Apbhransha

We have noted that the traces of this speech began to appear from the beginning of the

Christian era. From the tenth century onwards, Jaina monks and Buddhist writers began to utilize

this medium for their literary expressions. The metre Doha, peculiar to this language was

adopted as a powerful form of expression of religious and philosophical thoughts. Literary works

like the Paramatmaprakasha and the Yogasara by Joindu, the Pahudadoha by Ramosimha (10th

c. A.D.) and the Vairagyasara by Subhacharya are some of the important Jain texts in

Apbhransha .Stray poems dealing with morals, maxims, ethics, religion, discourses and legends

are very commonly found in this language. The Kirtilata of Vidyapati (14th

c. A.D.) is a major

literary work in Apbhransha.

4. Modern Indo-Aryan Vernacular Literature

i. Assamese

The earliest traces of Assamese are found in the writings of the Siddha cult of Buddhism

during the eighth century A.D. However, Assamese became a vehicle of literary expression only

from the twelfth century A.D. The first major writings were confined to the genre of rendering

translations of popular Sanskrit texts such as the Mahabharata, the Ramayana, the Bhagavat

Gita or particular episodes therefrom, into Assamese. Hema Saraswati's Prahladcharita and

Hara-Gauri Samvada, Harihara Vipra's Babruvahanar Yudha and Lava Kusas Yudha were some

of the major works in this genre. Madhava Kandli and Kaviratha Sarasvati were other prominent

literary persons of this era. Later on too, such religions works continued to be composed or

translated from the Sanskrit original into Assamese. Kaviraja Chakravarti's Brahmavaivarta

Purbha (c. 17th

c.A.D.), is a major example of this persuit. The Vishnu Purana, the Bhagavat

Purana and the Harivamsa were translated by Gopal Chandra Dwija (c. 17th

c. A.D.) whereas

Bhattadeva translated the Bhagavat Gita.

Some of the non-religious works were also translated into Assamese. These included

poetical romances, like the Mrigavati Charita, Madhava- Sulochana and Sakuntala Kavya.

Besides, many Sanskrit works on medicine, astronomy, arithmetic, grammar, architecture etc.

were also translated.

The whole of Assam passed under the sway of the strong Vaishnava movement during the

fifteenth and sixteenth century A.D. Sankaradeva (1459-1569) and Madhavadeva (489-1596)

were the key architects of the Assamese Vaishnava movement. They made rich contributions to

the development of the Assamese literature.The Kirtana-Ghosha Ghosha of Sankaradeva is

known as the Bible of the Assamese Vaishnava literature. It is an anthology of devotional songs.

Madhavadeva's Rajasuya depicted organization of this sacrifice by the Pandavas (an episode

from the Mahabharata).

A notable feature of Assamese poetry of this era was the emergence of a new form of poetry

called the Charitaputhis particularly from the second half of the sixteenth century. The Katha-

Guru Charita, the biography of Sankaradeva and Madhavadeva, compiled in the second half of

the seventeenth century is a monumental work in this genre.

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The Assamese prose began to develop from the sixteenth century A.D. Sankaradeva was

also a playwright, an actor and a musician of repute besides being a poet. He composed a number

of one act plays interspersed with songs. These are known as Ankiya nats in Assam. Bhattadeva

(1558-1638) translated the Bhagavat Gita in prose. The Buranjis, the Chronicles of the Ahom

court emerged as the highly developed form of prose literature containing periodical reports,

judicial and revenue records, diplomatic correspondence etc.

Apart from the strong Vaishnava movement, court patronages, extended to prominent

literary personalities of this era, was another important factor which provided a great impetus to

the proliferation of the Assamese literature. The famous Hema Sarasvati lived in the court of

Durlabh Narayana, a king in western Assam around the beginning of the thirteenth century.

Madhava Kandali was patronized by Mahamanikya, the king of Chachar. The Ahom Kings also

extended patronage to eminent Assamese poets and writers between the sixteenth and eighteenth

century A.D.

The Modern Age of Assamese literature set in with the British occupation of Assam in

the nineteenth century. Subsequent to it, a large number of American Baptist missionaries, such

as Rev. N. Brown, 0.T. cotter, M. Bronson, W.M. Ward etc., came and settled in Assam. In order

to spread the message of the Christ, they learnt the local vernacular and began large scale

publication works in Assamese. The Arunodaya, a monthly periodical was started by them in

1846. Works on Assamese grammar, dictionaries,journals were published in large numbers.

Hemachandra Barua's Hemakosha, an important Anglo-Assamese dictionary was published

during this period. Jonaki, an Assamese journal was started in 1889 by a group of Assamese in

Calcutta.

The last hundred years have been an era of unequalled enthusiasm for Assamese

literature. The old nataka form has been replaced by new type of drama. Similarly, the old

Kavya form has started giving way to the new age poetry of the English romantic type. Rajani.

Bardoli (novelist), B.K. Kakati (essay writer), L.N. Benzbarua and Hema Gosain (new age

poets), Hemchandra and Gunabhirain Barua (playwright) have been contributing tremendously

in their respective areas of literature and the process continues unabated.

ii. Bengali

Bengali literature traces its origin to some Charyapadas (folk songs), written between

the tenth and twelfth century A.D., by the followers of the Sahaja cult of Buddhism. It was

followed by the blossoming of the medieval phase of Bengali literature between the fourteenth

and the eighteenth century. This phase exhibited three major trends: (1) Vaishnava poetry (2)

translations and adaptations from classical Sanskrit texts and (3) Mangala Kavya. The eighteenth

century, from this perspective, is viewed as a period of decadence as the literature of this period

lacked freshness and vigor. The British occupation of Bengal, establishment of British

administration, introduction of English education and its impact on the receptive Bengali mind

and activities of Christian missionaries in Bengal etc., were some of the important factors which

heralded the advent of the modern age in the realm of Bengali literature, manifesting in the form

of new age poetry, plays, novels, short-stories, journals, periodicals etc.

Chandidasa (15th

c. A.D.) was the first of the Vaishnava poets of Bengal. His numerous

devotional lyrics tremendously influenced the next generation of Bengali bhakta-poets and their

literary compositions. Similar influence was commanded by Vidyapati. Although, his own

language was Maithili, yet his poems were mostly observed into Bengali. The central figure of

the Bengali Vaishnava movement and the architect of medieval Bengali literature was Shri

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Chaitanya Mahaprabhu (1486-1533). He composed numerous bhajanas which along with his life

and activities became the focal point of Bengali Vaishnava literature during the succeeding

centuries. A host of Vaishnava poets, such as Murarigupta, Narahari Sarkar, Ramananda Basu,

Shekhara etc., wrote excellent poetry. A number of biographical texts were written, of which

Krishnadasa Kaviraja's Chaitanyamritam is regarded a monumental work.

Many Sanskrit texts were translated or adapted in Bengali. Kirtivasa Ojha rendered

Bengali translation of the Ramayana. Similarly, Kashiram translated the Mahabharata. Maladhar

Basu Gunaraja Khan wrote the famous Srikrishnavijaya, which is essentially a Bengali

adaptation of the Bhagavata Purana.

The Mangal Kavya was a peculiar poetic form of medieval Bengal, deeply rooted to the life of

the common mass. These narratives were produced in sizeable quantity. Manikdaya and

Mukundaram were some of the leading exponent of this genre of Bengali literature.

The modern Bengali literature has been developing both in terms of quantity and variety of

literary forms. The latter has multiplied in the form of new age poetry and prose. The prose form

has further proliferated in newer forms like drama, fiction (novel), newspapers, periodicals &

journals etc. Michael Madhusudan Das (1824-1873) was a notable poet of this age, whose

magnum opus Meghanadavadha is reflective of the new age poetry. The earliest Bengali prose

works were written by a Baptist missionary William Carey (1761-1834) and some of his

contemporaries like Ramram Basu, and Mrityunjaya Vidyalankara. The Baptist missionary of

Serampore started the first Bengali newspaper, a weekly named Samachara Darpana, in A.D

1818. Raja Ram Mohan Roy was a leading literary luminary of this era whose Vedantagrantha

written in A.D 1815 ,is perhaps the most lucid work of the early Bengali prose. Ishwar Chandra

Vidyasagar, through his prose writings, contributed so much to this literature that he is regarded

as the 'father of the literary prose in Bengali.'

In the last hundred years, the modern Bengali literature has been taken to newer heights in all of

its literary forms. This age has produced great names in the field of literature. Bankim Chandra

Chatterjee (1838-1894 ), wrote masterpieces such as the Anandmath , Devi Chaudhrani etc. and

emerged as one of the best writers of modern Bengali fiction. Rabindranath Tagore's (1861-

1941) poems and writings such as Gitanjali, Gora, Ghore-Baire etc. have accorded

unprecedented height to it. Swarnakumari Devi (1855-1932), a daughter of Debendranath

Tagore, by virtue of her writings, emerged as the first notable woman writer in Bengali. Sarat

Chandra Chatterjee (1876-1938) emerged as one of the greatest Bengali novelists whose Devdas

and Parineeta are still counted amongst the best of the Bengali novels. The list of such literary

giants and the pace of development of modern Bengali literature both, are growing in leaps and

bound in the present times.

iii. Gujarati

The beginning of Gujarati literature is also traced to conventional folk songs of the

region. The first phase in the development of Gujarati literature from the 12th

to the mid 14th

century, is characterized by two main literary forms, viz., the Prabhandha or the narrative poem

and the Muktaka or the shorter poem. The period between the 16th

and 18th

century may be

assumed as the second phase in the development of this literature. As in other places of India and

with other vernaculars, decadence also set in the life and literature of Gujarat during the first half

of the 18th

century. From the 19th

century onwards, Gujarati literature entered its modern era,

developing and perfecting various literary genres, such as new age poetry, drama, novel, short

stories, essays etc.

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The first literary work distinctly in Gujarati was Bharatesvarabahubali rasa of Salibhadra. Soon,

it developed the Prabhandha and Muktaka genres of poetry. Many heroic and poetic romances

and Rasas, or long poems were composed in the prabandha style. The Kanhada-de-prabandha of

Padmanabha (c. A.D. 1456), narrates Gujarat's heroic stand against the Muslim invaders and the

fall of Somnath. In these poems romantic fiction is interspersed with historical facts. The

Sadayavatsa Katha of Bhima (c. A.D. 1410) falls in the category of poetical romance, which is a

pure fiction, based on popular legends, with exaggerated descriptions of love and adventure. The

Revantagiri rasa of Vijayasena is a specimen of the rasa literature. Such works are more true to

contemporary life in spite of their mythical character.

The Muktaka literature also registered steady growth. It developed a peculiar form, namely, the

Phagu, which meant a short poem with separation (Viraha) as its main theme. The Phagu

composers such as, Rajashekhara, Jayashekhara and Somashekhara dealt, for example, with the

most popular theme of that era in their respective Phagus, i.e., the tragic love of Rajala for

Neminatha.

From the 16th

century onwards,Gujarat began to be swept across by powerful currents of

Vaishnava Bhakti movements. The major strain in the literature of this period is religious and

mystical. Some of the major poets of this era were Narasimha Mehta (c.1500-1580.), and

Bhalana (c.1426-1500). Narasimha Mehta, on account of the richness of his imagination and the

variety of his creative activity, is considered as the father of Gujarati poetry. Bhalana and Akho

also made rich contributions to this literature with their distinct styles of poetry. Premananda

Bhatta, who may be described as the greatest poet of Gujarat of all times, actually came much

later, i.e., the second half of the 17th

century A.D. About fifty-seven works, covering an

enormous variety of literary themes and forms, are ascribed to him.

The modern period in Gujarati literature begins from the 19th

century. In poetry, works of

eminent poets like Dalpatram Dahyabhai (c.1820-1898), Narsinhrao, B.Divetiyas (c.1859-1937),

Manishankar Kant, Nanalal, Balvantrai etc., heralded the onset of the modern period.

Narsinhrao's Kusumamala (1887) introduced the western lyric as the principal form of poetic

expressions in Gujarati. The Persian Ghazal began to be used extensively along with folk songs.

Nanalal composed exquisite folk songs and is regarded as the greatest lyric poets of modern

Gujarati. A new trend set in by 1930, when a new generation of poets under the influence of

Gandhism began to compose poems and songs with national liberation as the central theme.

The modern Gujarati prose also developed on similar lines. Govardhanran Tripathi's(C.1855-

1907), four-decker Sarasvatichandra has the quest for the national self as its central theme.

Ramanlal Desai's Divyachaksu vividly portrays the picture of the Civil Disobedience Movement.

K.M. Munshi (1888-1971) enlarged the scope of fiction writing through his historical novels.

Pannalal Patel excelled in the regional novel. Even, Mahatama Gandhi made immense

contributions to the modern Gujarati prose through his writings. Besides, a vast number of

articles and notes, he wrote Hind Swaraj, Atmakatha, Dakshina Africana Satyagrahno Itihasa,

Arogyani Chawi etc.

Modern Gujarati literature has also made forays into the genres of short story and

playwright. Gaurishankar Govardhanram Joshi is regarded as a master short-story teller. His

Dhumketu reflects his command over this art. Ramnarayan Pathak is another master of the

Gujarati short story. Similarly, emulation of western playwrights began as early as the eighteen-

fifties. Ramanbhai, K.M. Munshi, Chandravadan Mehta and Yashwant Mehta are some big

names in this genre of writing. Ramanbhai’s Rai no Parvat is considered to be the best dramatic

work in this language.

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iv. Oriya

The earliest traces of Oriya writings appear in the 13th

century onwards in the form of

short lyrics and satirical poems. The Oriya literature first assumed a proper shape and a definite

character through the compositions of the great poet Saraladasa, who wrote the Oriya

Mahabharata in the 14th

century A.D., and the literary works of the five associates (Pancha

Sakha) of which Balaramadasa and Jagannathadasa, were the most important literary figures.

The period between the 16th

and 18th

centuries A.D. is regarded as the medieval phase of

the Oriya literature. Normally, two trends are visible in this period: (i) court poetry with

emphasis on ornament and intellectual fancy, and (ii) Vaishnava poetry which laid strong

emphasis upon love. However, these two trends were quite often mixed up: the court poets

adopted Vaishnava themes and the Vaishnavas indulged in the literary sports of the court poets.

Upendra Bhanja (1670-1720) was the most important poet of the first category, whose

compositions made invaluable contributions towards the development of Oriya poetry. The

Vaishnava poets of Orissa were under tremendous influence of the Bhakti movement of Sri

Chaitanya. This group was represented by composers like Dinakrishnadasa, Abhimanyu Samanta

Simhara and Kavisurya Baladeva. The Ramayana, Mahabharata and the Bhagavata-Gita were

the invariable sources of material. The Bidagdha Chintamani of Abhimanyu Samanta Simhara, is

a leading example of the writings of this group.

The modern age set in Oriya literature in the middle of the 19th

century. The contact with

the west through English education brought about a radical change in Oriya literature. Prose

literature began to develop sinceforth in various forms, such as, novels, dramas, short stories,

journals etc. The modern Oriya literature also came under the influence of the nationalist

movement for freedom and Gandhism.

Radhanath Ray (1849-1908), regarded as the father of Oriya poetry, Madhusudan Rao

(1853-1912 ), Fakir Mohan Senapati (1843-1918 ) etc., have heralded the pace of the onset of the

modern era in Oriya literature. Radhanath Ray's compositions exhibit influence of western ideas.

Senapati, who developed Oriya prose, portrayed in his compositions, grassroots accounts of rural

life.

Some literary groups, organizations and their activities are also contributng to the

development of modern Oriya literature. The Utkal union conference of 1903, founded by

Madhusudan Das and the Satyavadi group of writers, a product of the nationalist movement of

the early 20th

century etc, were some of such groups/organizations. The Prachi Samiti, worked in

the field of research and brought to light a number of ancient works. Vishwanatha Kara and

Nilamani Vidyaratna started their magazines in Oriya. Gopala Chandra Praharaja produced a

monumental Bhasa Kosha, a multi-lingual dictionary. This multifaceted growth of modern Oriya

literature continues unabated.

v. Marathi

Ever since its emergence in the latter half of the 13th

century A.D., the Marathi literature

betrayed profound religious and philosophical fervor, which continued till the end of the 17th

century A.D. From the 17th

century, however, we begin to find secular compositions. Such works

found expressions in the Povadas, a poetic genre, a kind of ballad describing the lightning

warfare and selfless valor of the Marathas, and also Lavanis, another poetic genre, romantic in

76

character with a deeper appeal to the erotic sentiments. Another genre of writing developed and

dominated the Marathi literature from the mid 18th

century was Bakhars or chronicles of

historical events. The beginning of the 19th

century witnessed the advent of modern age in this

literature as well. Biographies (both in prose and verse), works on Marathi grammar,

dictionaries, newspapers, periodicals, essays, historical novels, dramas and satirical writings,

etc., began to be produced on a large scale, besides the continued swarming of new age poetry.

The first three hundreds years of the Marathi literature was dominated by religious and

philosophical themes. Mukundaraja was a very important poet of this age who wrote primarily

for the masses in chaste popular language. His Vivek-Sindhu is one of thefinest specimen of the

early Marathi literature. The poet- saints of the Mahanubhava cult, by virtue of their marked

contribution to Marathi poetry and prose, are regarded as the builders of early Marathi

literature.These poet -saints composed seven long poems. They also produced sizeable prose

literature- mainly biographical or philosophical in character. Some of the important prose works

are the Lila Charita, the biography of the founder saint of this cult Chakradhara ,the Govinda

Prabhu Charita, the biography of Govinda Prabhu, the preceptor of Chakradhara, and the

Siddhanta Sutra Patha, which contains sermons regarding day to day life.

The next stage of Marathi literature witnessed towering personalities, such as Jnanadeva,

Namdev, Eknatha and Tukarama etc. Jnanadeva's literary skills and philosophical depth are aptly

reflected in his Bhavartha-Dipika, popularly known as Jnaneshvari, and the Amritanubhava. The

poetic compositions of other saints Eknath and Tukarama reached to common people in their

own language and left deep imprint onto their thoughts and minds. Tukaram is particularly

known for his Abhanga or short lyrical poems, which made direct appeal to the people through

the intensity of their lyrical quality. Ramdas Samrath, the great saint preceptor of Shivaji, was

another literary Stalwart of this age. His Dasabodha, reflected a combination of devotional and

religious fervor and liberation and national reconstruction. The last great poet of this age was

Vamana Pandita, who composed poetry in an ornate Sanskritized style.

The latter half of the 19th

century A.D., witnessed beginning of the new age Marathi

poetry. K.K. Damle (also known as Keshavasuta) created new norms in the poetry of love,

nature,social consciousness and neo-mysticism. By 1930, a group of poets known as the Ravi

Kirana Mandal popularized many traditions of simple Marathi poetry. Madhav Tryambak

Patvardhan and Yashvant Dinkar Pendharkar were the lead composers of this group. The earlier

Povadas and Lovanis, however, continued alongside. The former harped on the Maratha glory of

the Peshwa courts and the latter continued to pick up love themes.

New age Marathi prose also registered a steady progress. The first Marathi grammar and

dictionary appeared in 1829. A host of thinkers and social reformers made direct contributions to

the new age Marathi prose. Bal Shastri Jambekar (1810-46 .) started a daily paper, Darpana in

1831 and the periodical Digdarsana in 1841. Vishnu Shastri Chipulkar (1850-82 ) founded the

newspaper Kesari in 1881, which under Lokamanya Bal Gangadhar Tilak assumed an all India

status. Gopal Hari Deshmukh allies Lokahitawadi (1823-1892 ), Gopal Agarkar (1856-1895 ),

Jyotibha Pule (1827-90), Lokamanya Tilak (1856-1920). S.M. Paranjape (1864-1929 ),

N.C. Kelkar (1872-1947), V.D. Savarkar (1883-1966 ) etc., gave vent to their thought through

their writings on a wide variety of issues ranging from social, philosophical, mystical to political

and national.

Marathi novels also multiplied during this age. Hari Narayan Apte (1864-1919 ) was a great

novelist whose Ushakala and Mi portrayed all aspects of life in the contemporary Maharashtra

77

and are counted amongst the finest specimen of Marathi Novels. A new trend in satirical and

humerous writings also developed around this time. S.K. Kolhatkar, Ram Ganesh Gadkari and

C.V. Joshi are some of the great names in this field.

The Progression of Marathi drama enlisted invaluable contributions from Vinayak Rao Irtane

(1840-91), Anna Saheb Kirloskar and others. Anna Saheb's plays Sakuntala (1880), Saubhadra

(1882 ), and Ramarajya-Viyoga (1884 ) mark high water mark of Marathi plays.

vi. Punjabi

The first phase of Punjabi literature [between A.D.1200-1500] was dominated by poetic

works on religious mysticism, heroic ballads and folk literature. Gradually, there emerged

poetical romances, adopting popular love stories of a legendary character,Indian as well as

Persian .During the second phase [the 16-18th

century] good progress was registered in Punjabi

prose. This phase also witnessed a number of religious and philosophical works translated from

Sanskrit. The modern era in Punjabi literature set in the 19th

century A.D. The establishment of

the Christian missionary at Ludhiana which set up the first printing press in the Punjab was one

of the pivotal factors responsible for this transition. Subsequently, the tone and tenor of this

literature modulated itself in accordance to some of the important events taking place in the

contemporary Punjab, viz., the Ghadar, Akali and communist movements. In the Post-

independence era, institutions like Punjabi Sahitya Academy (Ludiana), Kendriya Punjabi

Lekhaka Sabha (Jullundhur), and Punjabi University etc., are playing a very important role in the

promotion of Punjabi literature.

Masud Farid-uddin (1173-1265) a mystic poet of high order was the pioneer of early

Punjabi mystic poetry, followed by a number of such Hindu and Muslim poets. Guru Nanak

(1469-1539) was another important luminary who composed verses and songs in large number

preaching castelessness, and advocating a Universal, ethical, anti-ritualistic, monotheistic and

highly spiritual religion.

Guru Angad (1539-1552), the immediate successor of Nanak, collected Nanak's oral

teachings and put them down in a new script, the Gurumukhi. Another Sikh Guru, Arjun (581-

1606) brought together the Vanis (words) of previous Sikh Gurus and those of other saints like

Kabir, Namadeva and Raidas to form the Guru Grantha Sahib. His own monumental work

Sukhamani is one of the longest and greatest medieval mystic poems. The tenth Guru, Guru

Gobind Singh surpassed all the Punjabi poets of his age in volume and variety. A number of

poetic romances were also written. Hir Ranjha, written by Waris Shah is probably the best of

these poetics. The earliest specimen of Punjabi prose appeared in the form of Janam Sakhis

(biographies of Gurus), Bachans (sayings) and Parmaraths (commentaries on scriptures).

Modern Punjabi literature began to develop in the 19th

century A.D. The first Punjabi

newspaper was started by the Christian Mission at Ludhiana. Rev. J. Newton wrote the first

Punjabi grammar text .Two of the earliest dictionaries were published in 1838 and 1854

respectively. The birth of the Singh Sabha movement rendered further impetus to the

development of this literature. Bhai Vir Singh (1872-1957 ) wrote a number of novels such as

Sundari, Vijay Singh and Baba Naudh Singh. He also composed long poems such as, Rana Surat

Singh. Other notable contemporary poets were Puran Singh (1882-1932) and Dhani Ram Chalrik

(1876-1954).

Events, such as the Ghadar, and emergence of Akalis and Communists in the Punjab,

shifted the focus of this literature from mystical and religious to national and the political

78

themes. Mohan Singh, Amrita Pritam, Santokh Singh, Takht Singh etc.,were some of the

important composers of modern progressive poetry.

Punjabi drama also reached unprecedented scale of development during this phase. A

host of playwrights have appeared on the scene such as I.C. Nanda, Sekhon, Balwant Gargi and

others. Thier dramas exhibit higher standard of excellence. Punjabi novels have greatly been

contributed by some of the leading novelists, such as, Nanak Singh, Amrita Pritam, Narindarpal

Singh, Surindar Singh Narula etc. Another set of leading literary figures such as Sant Singh

Sekhon and Kulwant Singh Virk have infused a new lease of life to short story writings.

Publication of magazines, such as, Preet ladi and literary journals,e.g., the Panja Darya,

Punjabi Dunia, Arsi, Alochna, Sahitya Samachara etc. ,has been making rich contributions to

the modern Punjabi literature.

vii. Sindhi

Sindhi literature made a humble beginning in the 14th

century A.D. The early Sindhi

poetry, like those of other contemporary vernacular, was dominated by religious and mystical

themes. From the 18th

century, under the influence of Persian poetry, the theme of Sindhi poetry

began to shift towards romanticism. The British conquest of Sindh in 1843 proved to be a

blessing in disguise from the perspective of development of this literature. Sindhi had no fixed

script before the middle of the 19th

century. After the British conquest, it was decided to employ

Arabic characters for Sindhi and an alphabet of 52 letters was adopted to form the standard

script. Subsequently, Sindhi literature entered its modern phase. Dramas, novels, Short stories,

essays, literary criticism etc., have all eversince been registering a speedy progress. Institutions

like the Sindhi Sahitya Society (established in 1914), have greatly been contributing to the

enrichment of Sindhi literature.

The early phase of Sindhi literature was dominated by the well-known trinity of Sindhi

poets-Shah Abdul Latif (1689-1752 ), Abdul Wahab, better known as Sachal (1739-1850) and

Bhai Chainrai (1743-1850). These poets were clearly under the influence of the Sufi mysticism.

Shah Abdul Latif's subtle Sufi thoughts, characterization, graphic description of scenes and

beauty of his compositions have earned him the epithet of the greatest Sindhi poet. Sachal is said

to have composed over one lakh verse in Sindhi. Sami was the first known Hindu Vedantic poet

who composed more than 15,000 verses in the form of Slokas.

Although, Sindhi poetry started with its principal form Dohas and Sarathas etc., the 18th

century witnessed introduction of the Persian poetry forms viz., Ghazal, Qasida, mathnawi etc.

Some of the prominent composers in this genre were Muhammad Gul, Mulla Muhammad

Qasim,Shams-Ud-Din Bulbul etc. Satirical poetry and those based on Sindhi folk- tales also

made great headway during this period.

Sindhi prose is comparatively of recent origin. The British conquest of Sindh facilitated

large scale translation and publication of books on Christianity. The earliest prose writing

appeared, however, in the form of the Sindhi translation of the Quran Sharif by Azizullah in

1746 The British impetus to Sindhi literature came in the form of publication of not less than 15

books, including 4 grammars and 5 dictionaries, before the end of the 19th

century A.D. This was

followed by publication of several dictionaries and grammars, viz. English-Sindhi Dictionary by

Lakshmana-Vishnu Paranjapaye (1868), Sindhi-English (1910) and English-Sindhi (1933)

dictionaries by Parmanand Mewaram etc. Gradually books on folk tales of Sindh, art, science,

biology, history, geography etc., also began to be published.

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Sindhi playwright witnessed a large number of translations as well as writing of original

dramas. Mirza Qalich Beg translated most of the Shakespearean dramas, whereas he wrote

original ones like Laila Majnu (1880), Khurshed (1887) and Shakuntala. King Harsha's Sanskrit

drama Ratnavali was also translated in Sindhi in 1888 European dramatists, such as Ibsen,

Sheridan etc., were also introduced to the Sindhi literature. Khanchand Daryani , a leading

Sindhi dramatist, wrote a large number of original dramas – the popular among them being

Gulab-jo-gul (1920 ), Zamindari Zulum (1928), Ratna (1924), Zamane ji Lahar (1929) etc.

Sindhi novel too, has a humble beginning. Jagat Advani was the first prominent Sindhi

novelist.His focus, however, was to translate novels from other languages. He translated in

Sindhi, works of novelists, such as Sharat Chandra Chatterjee, Rabindranath Tagore, Munshi

Prem Chand etc. Gradually, original novels also began to appear. Mirza Qalich Beg wrote

Dilaram (1888) and Zeenat (1890). Some historical novels were also written, such as Dr.

Gurubkhani's Nur Jahan (1915) and Abdul Razzak's Jahan Ara (1935).

Sindhi short story began with religious themes and with emphasis on moral values. Soon,

however, these began to be written on social and historical themes. Bherumal's Prem-Jo-

Mohatam (1914) throws light on family life. Nirmaldas Fatehchand's Sarojini harps on Hindu-

Muslim unity. Amarlal Hingorani, Usman Ali Ansari and Nanikran Mirchandani are some of the

other important names in this field.

Similarly, a number of essays have been written by essayists, such as Mirza Qalich Beg,

Sadhu Hiranand, Permanand Mewaram, Lalchand etc., on religious, philosophical, literary,

patriotic, Sufi and social subjects.

Literary criticism is the product of the late 19th

century. Fazil Shah, Hotchand

Gurbukhani, Bherumal etc.,are some of the leading contributors to this branch of Sindhi prose.

viii. Hindi

The origin of Hindi literature is usually traced in the writings of the Nathapanthis

between the tenth and eleventh century A.D. The writings of this period, however, remained poor

in literary value. The first phase of the development of Hindi literature, namely, the Adi Kala,

began from the 11th

century, with Rajasthan being the main centre of literary production. The

bulk of literature produced during this period belonged to two prominent categories, viz., one,

composed in ballad form and meant for group singing accompanied by dance (Raso) and the

other, written in a more literary style, using different meteres and propagating a well knit story of

hero's romantic and warlike pursuits (Rasa). The second phase (1318-1643), namely the

Bhaktikala, witnessed wholesome composition of Hindi verses on religious, moral and mystical

themes on the lines of two dominant schools of Bhakti saints, viz., the Nirguna and Shaguna

schools.

The period between1650-1850 is regarded as the third major period in the development

of Hindi literature. The poets of this age belonged to the elite class and were academicians by

profession who not only practiced but also theorized on poetry. The main theme of Ritikala

poetry was carnal love. The fourth period, namely, The Adhunik Kala, began with Bharatendu

Harish Chandra (1846-1884 A.D.), who is known as the 'Father of modern Hindi literature.' The

early years of modern Hindi poetry was dominated by themes on contemporary social, political

and economic problems with a note on national regeneration. As a reaction to this overemphasis

on moral aspects of human life, the modern Hindi poetry entered its next phase known as the

Chyavada, wherein natural human impulses became core of poetry. This trend continued till

1937. The contemporary Hindi poetry comes under the influence of the Leftist ideology which

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found expression in two rival trends: one is Progressivism (Pragativada), which can be defined

as people's poetry directly inspired by the Marxian philosophy; the other is called

experimentalism (Prayogavada) or new literature, which looks upon experiments or constant

quest as the essence of life and literature.

The modern Hindi prose also began to assume concrete shape from 1850 onwards.

Dramas, novels, short stories, newspapers, periodicals, literary criticism etc. – all such variants

of prose have established their independent and distinct identities in the realm of the modern

Hindi literature.

In the Rasa category of the Adikala literature, Narapati Nalha's classical poem the

Bisaldev Raso is a commendable work. It was written in the latter half of the 12th

century A.D.

Its language is very close to Rajasthani Dingal and the theme deals with the grief of a woman

whose lover deserted her in anger. The greatest work in tradition of the Raso literature is the

Pritviraj raso, ascribed to Chand Bardai, a bardic poet of the court of Prithvi Raj Chauhan of

Delhi and Ajmer. It is regarded as the first epic poem in Hindi on account of its literary merit.

The Hindi literature during the Bhakti Kala had saint poets of both Nirguna and Shaguna

schools and Sufi mystics. They composed their verses on religious, mystical and social themes.

Kabir (1398-1518) composed a number of songs and Verses (Sakhis), which are noted for their

literary excellence. On the mystic plane, Kabir's compositions assume a modest and devotional

tone. On the social plane, Kabir is out spoken. He severely strikes against all social and religious

abuses which had crept into the contemporary Islam and Hinduism. He was followed by other

saint poets of the Nirguna school viz., Dharmadasa, Guru Nanak, Dadu, Sundardasa etc. The

Shaguna compositions had two broad divisions: notes of devotion to Rama and Krishna. The

Rama worshiping Shaguna group was led by Tulsidasa (1532-1563), whose Ramacharita

Manasa is an epitome of the medieval Hindu culture. Of the Krishna worshipping Shaguna

group, Surdasa (1483-1563) was the most prominent saint poet, whose Sura-Sagra is one of the

masterpieces of medieval Hindi literature. Vidyapati, Nandadasa, Hita Harivansa, Mirabai and

Rasakhana etc., were some of the other prominent saint poets of this school, whose poetic

compositions also made rich contributions to the contemporary Hindi literature. The Sufi-

mystics, on the other hand, under the influence of Persian style of poetry, wrote poetical

romances based on common love tales of the Hindu and Muslim life. Malik Muhammad Jayasi's

Padmavat (1540), Kutuban's Mrigavati (1501), Manjhan's Madhumalti, Uthman's Chitravali

(1613) and Nur Muhammad's Indravati etc., are invaluable compositions of this category of

medieval Hindi literature. Another great literary personality of the period was Abdur Rahim

Khan-i-Khana, who adored the court of the Mughal emperor Akbar. This statesman- poet

composed poems on moral values and virtues.

The first noted poet of Ritikala was Kesavadasa, who was followed by others like

Chintamani, Mati Rama (1617-1716), Bihari (1603-1663), and Deva (1673-1767) Another great

poet Bhushana, belonged to this group, although, the theme of his compositions, invariably, was

heroic struggles of Shivaji against the Mughals.

Bhartendu Harish Chandra's compositions initiated the modern age in Hindi poetry. This

process was subsequently continued by Acharya Mahavir Prasad Dwivedi (1870-1938),

Ayodhya Singh Upadhyaya 'Hariaudha' (1865-1946), Makhan Lal Chaturvedi, Balkrishna

'Navin' and Ramdhari Singh 'Dinkar'.

However, overemphasis of these poets on moral aspects resulted in a reaction which

found expression in the Chayavada of Jaya Shankar Prasad. Prasad's Kamayani is an epic

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portraying the eternal struggle of the human soul against the background of the modern age.

Surya Kant Tripathi 'Nirala', Sumitra Nandan Pant and Mahadevi Verma etc., were some of the

other exponents of Chayavada. Post Chayavad, modern Hindi poetry has been diversified into

many newer areas.

The first original Hindi drama in the real sense was Nahua Nataka (1857), written by

Gopal Chandra, father of Bhartendu Harish Chandra. However, the Hindi drama owes its

beginning to Bhartendu, who by effecting a compromise between the techniques of the Sanskrit

and the western Drama, produced the modern Hindi play and brought it to stage under his own

direction. Some of the popular dramas written by him are-the Andher-nagari, Bharat-durdasha,

Satya Harishchandra etc. Jayashankar Prasad also wrote some ever-popular dramas e.g., the

Chandragupta, Dhruvswamini ,Skandagupta,etc. Mohan Rakesh’s Aadhe-Adhure, Ashadha Ka

Ek Din and Lehron Ke Rajhans are regarded as highly reputed plays. Modern Hindi novel is also

a product of modern age. Munshi Prechand (1880-1936) wrote a number of novels which were

inspired by the socio-political ideas of western masters like Leo Tolstoy and Charles Dickens.

The Godan, Gaban, Rangabhumi, Nirmala and Sewasadan are some of the novels written by

Premchand. Newer forms of novels have developed in the present times, boasting of such names

as Jainendra, Yashpal, Shri Lal Shukla etc.

Literary criticism is yet another form of modern Hindi prose which has evolved only recently.

Acharya Ramchandra Shukla, Acharya Hazari Prasad Dwivedi, Nand Dulare Vajapaye, Ram

Vilash Sharma, Dr. Nagendra, Dr. Namwar Singh etc., are some of the leading literary critics of

modern Hindi literature.

ix. Kashmiri

Literary activities in Kashmiri vernacular started not earlier than the fourteenth century

A.D. However, it is from the eighteenth century A.D. that one may note a continual spurt in all

major forms of writings, viz., religious and secular poetry and prose – drama, novel, literary

criticism, short story etc.

One of the most famous literary figures in Kashmiri, during the early period, was Lal

Ded, the woman saint poet of the fourteenth century Kashmir, who is regarded as the second

Rabia. [The first was Rabi al Adawiya (d. A.D 801) of Basra, who is regarded as the first woman

mystic in the Islamic tradition.] Lal Ded is placed first in time amongst Kashmiri poets and is

also considered the maker of modern Kashmiri language and literature. She composed a number

of verses or Vakhs. The Vakh is a four line stanza, complete in itself. Her Vakh helped make

Kashmiri an adequate vehicle for the expression of philosophical thought. She adapted

Sanskritik forms of words to the use of Kashmiri, coining new words in the process. Her poetry

pervades the countryside even today.

Kashmiri literature rapidly developed in the 19th

century. New and valued forms of poetry

multiplied in quantity. Parmananda, Prakash Rama and Krishna Razdan are some of the

important poets of this age. Parmanada wrote allegorical narratives on Hindu religious themes.

Radhasyayamvara, Sudamacharita and Sivalayah are some of his important works. Prakash

Rama composed the Kashmiri version of the Ramayana. Krishna Razdan composed popular

devotional songs in the tunes of rural folk songs and ballads. Some of the prominent Muslim

poets of this age were Mahmud Gami, Rasul Mir, Wahhab Paru etc. Among Gami's chief works,

are Yusuf-Zulekha, Khushrau-Sirin and Laila Majnu. Wahhab Paru translated the Shah Nama of

Firdausi. J.H. Knowles rendered in English a collection of Kashmiri folk-tales and proverbs. The

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close of the 19th

century was also marked by progress in song and ghazal and witnessed the birth

of a distinctive type of comic-satiric ballad called Lodi-Shah.

The early 20th

century witnessed the forceful impact of new inferences from several

quarters-the growth of Indian nationalism, knowledge of western thought and literature, new

developments in the literature of other north Indian regions, etc. Ghulam Ahmad Mohzur (1885-

1952) was the first poet of note, whose poems embodied many of these influences. He was

followed by Abdul Azad (1905-1948), who composed poems with the socialistic bias. Other well

known poets of the present times are Daya Ram Ganju, ZInda Kaul and Ghulam Hasan Beg

'Arif.' New literary forms such as drama, novel and short story have developed and are

registering a steady progress.

5. South Indian Vernacular Literature

In this category, we shall outline the major literary trends, texts and forms along with

major poets, writers, dramatist etc. in Kannada, Telegu and Malayalam vernaculars.

i. Kannada

The early Kannada literature was dominated by Jain writers. Srivardhadeva and

Syamkundacharya were prominent composers of this period. Srivardhadeva wrote Chudamani, a

commentary on Tattvartha-Mahashastra in 96,000 verses. However, the earliest extant work in

Kannada is the Kavirajamarga, a work on rhetoric and poetry, written by Nriptunga (generally

identified with the Rastrakuta king Amoghvasha I ( 814-880). The Vaddaradhane of Sivakoti (c.

A.D. 900) is another important work of this age. Written in prose, it narrates the lives of some of

the Jaina saints.

The next stage of Kannada literature was dominated by the 'Three Gems of the Kannada

literature', - Pampa, Ponna and Ranna. Pampa ( 941), writing under the patronage of Arikesari II,

a feudatory of Rashtrakuta king Krishna III, composed the Adipurana, which narrates the life-

story of the first Jain Tirthankara. His other major works, the Vikramarguna Vijaya, also called

Pampa Bharata, contains the authors own version of the Mahabharata story. Critics have

unanimously hailed Pampa as the most eminent among Kannada poets. He was followed by

Ponna (950). His Shantipurana, deals with the life story of the sixteenth Tirthankara,

Shantinatha. He also wrote Bhuvanai-Karmabhyudaya and Jinaksaramale. The Rastrakuta ruler

Krishna III, gave him the title Ubhayakavichakrayarti i.e. 'supreme poet in two lang -uages i.e.,

Sanskrit and kannada'. Ranna, who adored the court of the Chalukya King Taila II and his

successor, wrote Sahasabhimavijaya or Gadayudha (982.), which reviews the story of the

Mahabharata with particular reference to the last fight between Bhima and Duryodhana. He also

composed the Ajitapurana on the life of the second Tirthankara, Ajitanatha. Two other works of

Ranna, the Parashuramacharita and the Chakreshvara-Chrita ,are no longer extant. By their

monumental works, the great trio- Pampa, Panna and Ranna, have immortalized Kannada and

have earned the well merited title 'Ratnatraya' (The three gems) for themselves and the epithet

"Golden age" for their period.

The Jaina influence on Kannada literature continued in subsequent centuries-in the form

of biographies of Tirthankaras or other Jaina notables, Jaina versions of Sanskrit classics like the

Mahabharata or the Ramayana, and fictional compositions intending to establish supremacy of

the Jaina sect over other contemporary religions and sects. Nagachandra wrote the

Mallinathapurana (1105), biography of the nineteenth Tirthankara; Karnapriya's

Neminathapurana (1145.) is a biography of the twenty second hankara Neminatha ; Janna's

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Ananthanathapurana (1230) is a biography of the fourteenth Jain Tirthankara; Madhura wrote

Tirt Dharmanthapurana (1385.) on the life of the fifteenth Tirthankara etc. Nagachandra's

Ramachandra Charitapurana gives the Jaina version of the Rama legend wherein Rama

becomes a Jaina ascetic and attains nirvana at the end. Brahmasiva wrote 'Samayapanikshe' with

a view to establish the superiority of Jainism over all other creed.

After the Jains, the Vira-Saivas contributed the most for the development of Kannada

literature. Showing a predominant preference for the prose medium, this sect had over two

hundred writers. It included many women writers as well, the most prominent of these being

Mahadevi yakka. Basava (1160) and his mystic contemporaries Allama Prabhu, Chennabasava

and Mahadevi yakka invented a new type of prose composition called Vacanas (Vachanas),

noted for their simplicity and use of simple Kannada.

The period witnessed some notable changes in Kannada literature. The champu form of

compositions went out of use and Shatpadi and Tripadi new meters, representing verses with six

and three lines, respectively came into vogue. The Vira-Saiva movement produced two

categories of Kannada literature; first, stories of reforms and devotees and second, expositions of

doctrine. The Basavapurana (1369.) of Bhimakavi and the Mala-Basava-raja-Charita of

Singiraja (1500) dwell at length on miracles performed by Basava is his life time. The

Prabhulinga-lile of Chamarase (1430) has Prabhulinga (Another name of Allama Prabhu, an

associate of Basava) as its hero and in Virupaksha Pandita's Chenna Basava Purana, Basava's

nephew Chenna Basava is treated as its hero. In the category of the literature of the doctrine,

Lakkanna's (a Lingayat minister at the court of the Vijayanagar ruler Devaraya II) Sivatattva –

Chintamani is a treatise on the tenets and rites of the sect. The Vira-Saiva literature continued to

be written on large scale during the subsequent centuries.

The Vaishnava Movement cast another major influence on the development of the

Kannada literature. However, it began to exert strong influence on Kannada literature only from

the time of Krishnadeva Raya, the famous Vijayanagar ruler. Two dominant form of Kannada

Vaishnava literature developed during this age: first, translations and adaptations of classical

Sanskrit texts and secondly, popular songs composed by dasas (medicant singers). Prominent

poets such as Narahappa and Timanna rendered the Kannada version of the Mahabharata,

whereas Narahari, who also called himself Kumara Valmiki, produced the Kannada version of

the Ramayana. Catu Vitthalanatha translated the Bhagavata. In the second category of the

Vaishnava literature, Purandaradasa was 'the earliest, most prolific and most famous of these

singers.' Kanakadasa, was one of his contemporaries and a very important dasa in his own right.

Although, the early and medieval Kannada literature displayed a predominant religious

fervour, some outstanding works on non-religious themes were also prepared. Writing important

treatise on Kannada grammer was one such literary domain. Nagavarma II (c. mid- 12th

c. A.D.)

was one of the most important grammarian of this age. His Kavyavalokana is an important work

on Kannada grammar and rhetoric. His Karnatakabhashabhushana is another major work on

Kannada grammar. He also wrote Vastukos, an important Kannada dictionary. Kesirja’s

(c.1260)Sabdamanidarpana is viewed as the standard grammar of Kannada. The writings on

Kannada grammar continued throughout this period. The Karnatakasabdanusasana (1604) of

Bhattakalankadeva is the most comprehensive text on Kannada grammar.

Similarly, some very important works were written on science, and scientific themes.

Chavundaraya's Lokopakara (1025) is a guide to daily life on various subjects such as

astronomy, astrology, sculpture, consumption, cookery etc. Shridharacharya's Jataka-tilaka

(1049) is the earliest work in Kannada on astrology. Kirttivarma's Govaidya is a work on

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veterinary science, half medicine and half magic. Similarly, Rajaditya dealt with mathematical

subjects in several ganita works like Vyavahara-ganita, Kshetra-ganita and Lilavati.

Another major feature of the medieval Kannada literature was producing collection of

short stories which came into existence from about the sixteenth century. The Tenali-

Ramakrishna- Katha is a leading example of writing in this genre.

The next major phase of development of Kannada literature set in from the nineteenth

century onwards. It was preceded by an era of degeneration and decline in the literary standards

which continued throughout the eighteenth century. English was taking a firm root in the

educational system throughout the Kannada region exposing, thereby,Kannada poets and writers

to modern poetic and prose forms and western science and culture. The life and sentiments of a

modern secular society became the main theme in preference to the old stories and episodes of

the Epics and Puranas. At first, for about two or three decades, the Kannada men of letters helped

on translations and adaptations from English or the more progressive Indian languages like

Bengali. Later on they began to pick up themes from their immediate surroundings involving

complex socio-economic and political dimensions.

The new age Kannada poetry is dominated by scholar-poets like B.M. Srikanthayya

(1884-1946), D.V. Gundappa, K.V. Puttapa and others. They produced poetry of every kind –

lyrical, narrative, dramatic, devotional, secular and even satirical.

New types of literature e.g. novel entered Kannada through Bengali. M.S. Puttanna

(1854-1930), K.S. Karnata, A.N. Krishna Rao, T.R. Subba Rao etc., are some of the prominent

Kannada novelist of this era. Their themes ranged from social and court life, poverty and neglect,

and even extra-marital love.

Short story and drama are two other modern forms of the Kannada prose. Masti

venkatesha Ayyangar has been regarded as a supremely talented master storyteller. In the realm

of drama, prominent names such as Chamaraja Wodeyar, Basavappa Shastri, T.P Kavlasham

etc., are some of the phenomenal names.

ii. Telugu

Telugu became a regular medium of literary expression from the tenth century A.D.

Throughout the course of the medieval era, religious themes dominated the literary works of this

vernacular. The contemporary Vaishnava and Vira-Saiva movements cast a profound influence

on Telugu writings of this age. These were either translations or adaptations from classical

Sanskrit texts such as the Mahabharata, the Ramayana, the Bhagavatas and others, or biographies

of prominent religious leaders of these sects. However, secular works on grammar, science and

mathematics, although lesser in quantity, were also written.

The early Telugu religious literature was dominated by the era of 'Kavitraya' – the three

poets of Telugu. They were Nannaya (11th

century), Tikanna (1220-1300) and Yerrapragada

(1280-1350). Their major claim to literary acclaim rested on their Telugu translations of the

Mahabharata or some episodes therefrom. The Ramayana was another Sanskrit classic which

was put to Telugu translations. Kona Buddhiraja (13th c.A.D.) and Hullaki Bhaskara (14

th c.

A.D) were the early translators of this text. The most popular version of the Ramayana in chaste

Telugu, however, was authored by a sixteenth century low caste poetess Molla. Bammera

Potana's (1400-1475) translation of the Bhagavata and Pillalmarri Pina Virbhadra's 'translation of

the Jamini Bharata were some other such important works in this category. Vira-Savism began

to exert influence on the religious life of Telugu from the twelfth century. The poets wrote either

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on the fundamental tenets of this sect or biographies of important Vira-Saiva leaders.

Mallikajurna Pandit's Siva-Tattva-Saram is an important exposition of this faith. Similarly,

Pallukari Somantha (14th

c.A.D.) wrote important Saiva texts such as the Panditaradhyacharita

and Dvipada Basava Purana. One of the greatest poet of the Saiva faith was probably Srinatha

(1365-1440). His major works like Panditaradhya Charita, Sivaratri Mahatmya, Haravilasa,

Bhimakhanda and Kasikhanda, clearly demonstrate his staunch support to Saivism.

Medieval Telugu literature entered its golden epoch during the reign of the Vijayanagar

ruler Krishnadeva Raya (1509-1529). Under him and his team of eight great poets (the

Ashthadiggaja) which adorned his court, the practice of writing Telugu translations of Sanskrit

classics, gradually started giving way to original writings on the Puranic themes. Krishnadeva

Raya's Amuktamalyada or Vishnuchittiya, which deals with the life of a prominent vaishnava

saint of south India (Alvar) Vishnuchitta, is counted among the five great 'Kavyas' in Telugu.

Allasi Peddana, Known as the Andhrakavipitamaha (Grandfather of Telugu poetry) wrote

Manucharita/Svarocisha-Sambhava. Another great poet of Krishnadeva Raya's court was Nandi

Timmana, the author of Parijatapaharana, which deals with an episode of Sri Krishna’s life.

Bhattumurti's Vasucharita, Dhurjati's Kalahasti Mahatmya, Madayyagari Mallana's

Rajashekhara charita etc., are some of the other Telugu masterpieces pertaining to this era. The

most interesting of the Ashtadiggaja was, however, Tenali Ramakrishna. He is still remembered

as a court jester known for his humor and jokes. He, however, was also a talented poet and his

Panduranga Mahatmya and Udbhatcharyacharita serve as good specimen of the contemporary

Telugu writings.

As mentioned earlier, inspite of this era being dominated by bulk writings on religious

themes, non-religious themes and works on grammar, science and mathematics, were not

altogether neglected. Nannaya wrote the Andhra-Sabda-Chintamani, which is regarded as the

first Telugu grammar and earned for him the title Vaganusasana (Lawgiver of the language).

Vemulavada Bhimakavi composed Kavijanasraya which deals with Telugu grammar. Similarly,

Ketana's Andhra-Bhasha-Bhushana is another important work on grammar. His

Dasakumaracharita is a translation of Dandin's work, earning for him the title 'Abhinava

Dandin'. He also rendered the Telugu translation of Vijnanesvara's Mitakshara. Baddena

composed the Nitishastra-Muktavali, a treatise on Politics. Eleganti Peddana translated the

Lilavati of Bhaskara under the name Prakirna Ganita. Srinatha's Srinagara-Naishadha is the

translation of Sri Harsha's Naishadhakavya.

After the fall of Vijayanagar, standards in Telugu literary production began to deteriorate.

Except for minor works like folk dramas, produced at the various capitals of the Nayakas, there

was no significant development in the Telugu literature.

It entered its modern phase in the nineteenth century. Kandukuri Viresalingam (1848-1919), a

noted religious and social reformer, was the first major stalwart of modern Telugu literature. He

wrote the first novel, play, research thesis on the lives of Telugu poets, autobiography and the

first book on popular science in this vernacular. Chinnaya Suri (1808-62) was one of his

contemporaries. He made valuable contribution to the preparation of a comprehensive grammar

and laying the foundation of Telugu prose in its present form. Gurjada Appa Rao, a junior

contemporary of Viresalingam, wrote the first collection of short stories. He also wrote a play

Kanyasulkam which strongly advocated the need to bridge the gap between the spoken and

written Telugu and drawing his inspiration from folk- songs, he introduced a new meter verse

called mutyalasaran. Another notable writer was C.R. Reddy, who wrote the first long essay in

modern literary criticism. He was also the first writer on economics in Telugu. His contemporary

86

Lakshamana Rao, initiated historical research in Andhra. Once these trends started, new age

poetry, novels, plays, essays, short stories, historical research, literary criticism etc., developed as

specialized branches of this vernacular. It once started as a literature primarily under the

influence of Sanskrit, then of English and Bengali, it has now established its own independent

identity and is in living contact with the main streams of world literature. Thereby, it has

acquired a world outlook.

iii. Malayalam

Malayalam is believed to have evolved from ‘Kodum-Tamil’, one of the variants of the ancient

Tamil, prevalent during the Sangam period in the modern state of Kerala .One of the earliest

form of Malayali writings appeared in the form of Palaiyapattus or old songs. These were

popular ballads of various kinds i.e songs sung in marriages, or in praise of respective deities, or

in particular festive occasions. The Brahmanip-Pattu, for instance, is an important variety of

such songs which is sung in marriages. The earliest extant literary work, however, is the

Unnunili Sandesam, an anonymous poem of the fourteenth century. The Chandrotsava and the

Lilatilakam were other important poems of this period.

Meanwhile, the development of Chakkiyar-Kuttu, a dance recital of literary works, from

about the thirteenth century, gave a strong impetus to the Malayalam literature. It was clearly

supplemented by Champus (woks in mixed prose and verse) based on Puranic stories and

episodes. They were mostly written by Nambudiri Brahmins, a class well known for their wit,

sarcasm and literary skills. The Ramayana Champu, written by perhaps the most famous of

them, Punam Nambudiri (15th

c.A.D.), and the Naishadha- Champu, written by Malamangalam

Nambudiri (16th

c.A.D.), etc., are some of the finest examples of this genre of Malayali writings.

Poetic compositions continued alongside champus and Chakkiya-Kuttu. These showed

variety in themes: The Ramachaitam, written sometimes between the tenth and thirteenth

centuries A.D. by an ancient ruler of Travancore; the Bhashakautilya, a malyalam commentary

on the Arthashasta of Kautiya, written by an anonymous writer. Many other such works were

composed.

The medieval Malayali literature has greatly been contributed by the Niranam poets, so

called from their native village Niranam. These poets tried to develop an independent Malayalam

style, relatively free from the domination of Sanskrit or Tamil models. They also popularized a

metre which takes its name after them, Niranavrittam. Rama Panikkar, who wrote the

Ramayanam, Bharata Gatha, Savitri Mahatmyam, Bhagwatam and others, was perhaps the most

prominent of the Nirnam poets. Owing to his rich literary contributions to this language, he has

been called the Chaucer of Malayalam. Attakatha or Kathakali, a variety of dance-drama was yet

another popular form of medieval Malayalam literature. The Raman-attam of Kottarakkaa

Tampuran is counted amongst the first such (extant) Attakathas. Many Attakathas were written

subsequently-about two hundred kathas have so far been listed. Ravi Varman Thampi (1783-

1863) was perhaps the most outstanding author of Kathakali masterpieces. This form of literature

received ready patronage from royal courts and the feudal nobility.

Malayalam literature has entered a new (modern) era from the second half of the

nineteenth century. Factors contributing to this transition includes introduction of a new system

of education in Kerala in the early decades of the 19th

century, activities of the Christian

87

missionaries, the establishment of Madras University in 1857 which extended its activities to

Kerala etc.

First and one of the most important of the modern Malayalam literary figures was Kerala

Verma, a renowned Sanskrit and Malayalam poet and scholar. He wrote the Mayura Sandesham

and also produced the Malayali translation of Shakuntala of Kalidasa. More significantly, the

Travancore government of the time entrusted upon him to lead its planned programme of

developing the Malayalam language by the production of suitable text books for all classes.

Equality significant was the role of the Granganore School of poets in the development of the

modern Malayalam literature. Under the leadership of poet Vermani and his son, this school

broke the domination of Sanskrit and took the literature to the masses. Another notable literary

figure was A.R. Rajaaja Verma, who also attempted to set the Malayalam literature free from

Sanskrit forms and traditions. This movement gained further momentum from the writing of

Vallathol Narayana Menon and Kumarn Asan.

Modern prose literature in Malayalam has been the outcome of the Text Book Committee

(headed by Kerala Varma) and the new education policy. Novels and short stories began to

appear. They were mostly translations or adaptations from English. Soon, however, original

writing in this genre assumed the centre-stage. The Indulekha written by O. Chanty Menon,

Martanda Varma and Rama Raja Bahadur, written by C.V. Raman Pillai etc., represent

completely original and matured form of Malayalam novels. Appan Tampuran, K.M. Panikkar

and K.K. Menon etc., are some other well known Malayalam novelists. In the field of short-

stories, writings of eminent literary personalities, such as Thakazhi, K.T. Muhammad, D.M.

Pottekkad etc., are important. Malayalam dictionaries and grammatical tests began to appear as

early as the 1840s. Benjamin Bailley, a Protestant missionary, published a Malayalam-English

dictionary in 1846. Herman Gundert, a German scholar, produced an authoritative lexicon in

1872. it is based on a comparative study of the Dravidian languages. Through, elementary

grammars had been produced by some of the Christian missions, A.R. Raja Raja Varma

produced the Kerala Paniniyam which not only provided Malayalam with an authoritative

grammar but helped standardizing Malayalam metres.

The growth of drama is another important field of modern Malayalam literature. It began

with Kerala Varma’s translation of Abhijnana-Shakuntalam. Recent years have been witnessing

original dramatic works, combining live social background with progressive intellectual, cultural

and economic backdrops.

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INTEXT-QUESTIONS

1. The Charitaputhi, a poetic form, is connected to which of the following literature?

(a) Gujarati (b) Bengali (c) Malayalam (d) Assamese.

2. Who among the following started the first Bengali newspaper the Samachar

Darpana?

(a) Ishwar Chandra Vidyasagar (b) Raja Rammohan Roy (c)The Bapsist Mission

Of Serampore (d) Devendra Nath Tagore.

3. The Phagu, a short poem with separation as its main theme, is associated to which

to which of the following literature?

(a) Bengali (b) Oriya (c) Gujarati (d) Assamese.

4. The Satyavadi group of writers promoted which of the following literature?

(a) Oriya (b) Gujarati (c) Multani (d) Punjabi.

5. Who among the following wrote the Bhavarta-Dipika?

(a) Jnanadeva (b) Eknath (c) Tukaram (d) Ramdas Samrath.

6. Who among the following wrote the Padmavat?

(a) Malik Muhammad Jayasi (b) Kutuban (c) Manjhan (d) Uthman.

7. The Vakh, a four line poetic stanza is associated with which of the following Bhakti

Saints?

(a) Kabir (b) Mirabai (c) Lalded (d) Rabia.

8. Pampa, Ponna, and Ranna are regarded as the Three Gems of which which of the

following literature?

(a) Telugu (b) Tamil (c) Kannada (d) Malayalam.

9. The Kavitraya- Nannaya, Tikanna and Yerrapragada were associated with which

of the following literature?

(a) Telegu (b) Tamil (c) Kannada (d) Malayalam.

10. The Attakatha or Kathakali, a variety of dance drama, enriched which of the

following literature?

(a) Sindhi (b) Multani (c) Kashmiri (d) Malayalam.

Conclusion

It is evident that almost an uninterrupted process of multicultural synthesis has been one

of the most cardinal features underlining the progression of the Indian civilization. As one of its

prominent outcomes, Sanskrit and Tamil developed in the north and south India, respectively, as

the classical languages of India. Sanskrit, subsequently, paved the way for its simpler and more

popular variants in the form of the Prakrit, Apbhramsha, and eventually the Indo-Aryan (Indic)

languages. Tamil, in a similar fashion, helped directly or indirectly, evolution and growth of

other south Indian languages, such as Kannada, Telugu and Malayalam. Subsequently, all these

Indian vernacular languages began to produce their own distinct literature. The proliferation of

these vernacular literature has further and immensely been contributed by factors like spread of

the Bhakti movement in different regions and localities, advent of the European trading

companies, establishment of printing press and publication of magazines, journals and

newspapers, activities of Christian missonaries in various parts of the subcontinent, rise of

English educated Indian, intelligentia and socio-religious reform movement spearheaded by it,

the Indian National Movement for independence etc. The process of proliferation continues

unabated. The existence of a number of vernacular languages in India lends her a distinct

multilingual character, which in turn, is an important ingredient to her multiculturalism.

89

Long Questions:

1. Comment briefly on the process of rise and development of the North Indian vernacular

languages.

2. Trace the evolution of the South Indian vernacular languages.

3. Bring about the salient features of the North Indian vernacular literature.

4. Highlight the salient features of the South Indian vernacular literature.

5. How did the medieval Bhakti movement get represented in the contemporary north and

south Indian vernacular literature?

Suggested Readings:

1. A.L. Basham, The Wonder That Was India, 39th

impression, Rupa & co., Delhi, 2002.

2. Dr.Nagendra (ed.), Hindi Sahitya ka Samekit Vikas, Hindi Madhyam Karyanwaya

Nideshalaya, Delhi University,1989.

3. K.A.Nilkanta Sastri, A History of South India, From Prehistoric Times to the Fall of

Vijayanagar, O.U.P. (paperback),1990

4. P.N. Chopra, The Gazeteer of India,History and culture, Vol.I, Publication Division Of India,

1988.

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LESSON 4A

HINDUSTANI MUSICAL CULTURE: A STUDY

Madhu Trivedi

School of Open Learning

Delhi University

Introduction

In this lesson we will study the evolution of Hindustani musical culture in four phases.

We will see how the changes in patronage patterns and socio-cultural environment influenced the

course of its development and lead to experimentations and variations in the realm of audience-

oriented arts. Hindustani music provides a good empirical study in this regard. We will also learn

about some important musical treatises compiled during period under review.

The Early Medieval Musical Tradition

In Indian tradition dance and music are expressive of devotion. They form an integral

part of the socio-religious rituals and festivities and rituals, to the extent that Bharatmuni’s

Natyashastra (third century AD) has enjoyed the status of being the fifth Veda. Traces of its

tenets remained ingrained in one or the other form in the performing arts especially in music,

dance and theatre. The Indian dramatic art is called natya in the Natyashastra. It is the art of

representation in which speech, music and appropriate gestures are all harmoniously blended.

The other important work which had an overwhelming sway on the pattern of entertainment,

the communities of performers and their patrons was the celebrated Kamasutra of Vatsyayana

(fifth century AD). It became a normative byword for future generations.

(i) The devadasi system

The devadasi system was an important component of ancient and early medieval musical

culture. As a modern scholar, Dr. K. Sadasivam, remarks: ‘This institution has exerted and

extended its sway over several disciplines of human art and thought and even politics. It had

greatly influenced the musical, dance, dramatic, sculptural, painting and linguistic traditions of

the country.’ This system was not specific to any region; the literary and epigraphical sources

show its prevalence throughout the Indian subcontinent during the period under review. Kalidas

mentions in Meghaduta that the Mahakal temple in Ujjain resounded with the sound of the ankle

bells of the dancing girls. Hiuen Tsang (7th

century) records that ‘women played music, lit lamps

and offered flowers and perfumes to honour the sun-God at Multan. According to an Arab

Traveller Ibn -al Athir three hundred musicians and five hundred dancing-girls were attached to

the temple of Somnath at the time of the invasion of Mahmud Ghaznavi during the tenth century.

Several of the puranas – Matsaya Purana, Kurma Purana, Bhagwat Purana, and Shiva Purana

– recommend that arrangement should be made to enlist the services of singing and dancing girls

to provide vocal and instrumental music and dance at the time of divine services. For these

services they were paid by the temple either in cash or by endowments of land. The ruins of the

temples of the north India reveal it well that the practices of the sex cult were prevalent in many

of them. In almost all the temples which have survived the ravages of the medieval period are

adorned with erotic sculpture. The devadasi system appears to have been very poplar in the

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Shiva temples. In these temples the fertility and cult was merged with the tantric concept;

subsequently it was accepted by the Vishnu, Buddhist and Jain temples as well.

Devadasis were known by various names such as pātras and māhāris, vilāsini, and so

on. The existence of graded hierarchy among them is also suggested by the literary sources and

inscriptions. It may, however, be added here that the systematization of the devadasi institution

is not as pronounced in north as one finds in south India. In north India this institution declined

due to lack of patronage to temples.

(ii) The ganika

Sanskrit natak (drama), kavya (poetry), and akhyayika (story), especially

Mrichchakatikam (sixth century AD), Kuttanimatam (ninth century AD), and Dash Kumara

Charita (tenth century AD) bring out interesting details about the cultural activities of the upper

layer of society from the sixth to the tenth centuries. The courtesans were seen intimately

engaged in various types of artistic pursuits, including literary discourses. They were the

repository of fine arts and stagecraft, especially the ganika who attained proficiency in sixty-four

arts and had an expert knowledge in the art of love-making. The ganika dominated the city life

and occupied an important place in the society.

(iii) Temples as centre of cultural activities

Temples was not exclusively a place of worship in Indian cultural tradition. Much of the

social and political life of the community, especially in villages and small towns, centred round

the temples. Social functions, political discussions, and even business transactions often took

place here. To the temples were attached the theatre, halls for discussion on religious and

philosophical matters.

By the end of the seventh century A.D. classical Sanskrit drama and stage craft has

reached its zenith and had become a passion with the people of sophisticated tastes. Many of the

best Sanskrit plays were written during this period and have elaborate stage directions which

suggest that these were written for the viewers with the object of entertainment. As a result, the

number of skilled stage artistes burgeoned during this period.

(iv) Communities of performers

The variegated community of performers included actors, dancers, singers, players on

instruments, mime artistes, rope dancers, jugglers, tap dancers, wandering bards, and lastly the

courtesans, trained in the long standing tradition of skilled entertaining. Shilpi, shilpajivi and

kushilava are the terms used for stage artistes and musicians. Most of these artistes, including the

ganika were drawn from the Sudra class.

Communities of performers frequented the urban centres, especially place of pilgrimage

like Kashi, in order to earn their livelihood. The temple precincts were the usual venues for the

entertainers. Exclusive musical gatherings were arranged in the rangshala.

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(v) Musical forms

References to performance practices are scarce. From Manasollasa of King Someshwara,

compiled in AD 1130, it appears that musical performances were formalized by this time; a suit

or cycle, sudakrama, of seven traditional songs – karna, ela, dhenki, jhombada, lambaka, rasak,

and ektalika – followed by a large composition in the kanda metre, and a small concluding song

constituted the standard concert format. Other musical forms were specific to some occasion or

festivity. For instance, shatpadi was used in story-telling, and charchari was performed at the

time of the kusumayudha-parv (the holi festival). There were many vernacular songs called after

a particular metre, such as dodhaka, dvipadi, giti, chatushpadi which could be rendered in any

musical metre (tala).

During the thirteenth century a detailed description of the ancient and contemporary

prabandha (composition) forms is available in Sarangdeva’s Sangitaratanakara. He mentions

ela, karna, vartani, rasak, and ektali rendered in fast tempo. Many of these forms were accepted

in their traditional as well as improvised forms during the medieval period.

Medieval Music Culture

(i) Changes in the patronage pattern

The establishment of the Sultanate of Delhi in the beginning of the thirteenth century brought a

change in the cultural set-up of northern India. As the new elite had come from a culturally

developed region and their traditions were in many ways different from those current in northern

India, major change appeared in the patronage pattern. There was a sharp decline in the status of

ganikas, who occupied a coveted place in Indian cultural tradition. The new patrons, who

conformed to Turko-Persian traditions of art and culture, had no knowledge and understanding of

the Sanskrit language and lacked interest in the arts which were the attributes of a ganika. As a

result she lost her pride of place in society.

While in the pre-Sultanate days Sangit was the amalgam of acting, dancing and singing,

and the knowledge of the stagecraft was considered an essential accomplishment for the

fashionable people of society, in the new scheme of entertainment theatre had no place. The

elimination of theatre from the majlisi hunar (accomplishments appropriate to convivial

assemblies) led to a tremendous decline in the status of the theatre artistes. A further change was

brought about in the connotation of the term sangit during the period under review; it now

included the three arts of vocal music, instrumental music and dance.

The arrival of scholars, artisans and performing artistes from major centres of Islamic

culture owing to the devastations caused by Chingiz Khan in A. D. 1220-21 led to the further

strengthening of Persian traditions in India to which early Sultans firmly clung. However, this

aloofness could not be maintained for long, and a slow process of assimilation to indigenous

culture and performance practices started during the later half of the thirteenth century.

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(ii) Transition from Turko-Persian to Indo-Persian musical forms

The transition from Turko-Persian musical traditions began more markedly during the reign of

Sultan Muizzuddin Kaqubad (r. 1287-1290). In him the performing artistes, who were sitting idle

at his grandfather Sultan Ghiyasuddin Balban (r. 1267-87), found an agreeable patron. According

to Ziauddin Barani, the author of Tarikh-i Firuzshahi, there grew a colony of musicians, pretty-

faced entertainers, jesters and bhands from every region in the vicinity of the palace Kilukhari

where the Sultan held public audience. He further writes that Indian performing artistes,

courtesans, slave girls, and slaves were trained in the Persian language and instructed in the

manners and customs of the court. They were also trained in Persian music (sarud), and playing

of chang, rubab, kamancha, maskak, nay, and tambur, the instruments used in the Persian

cultural sphere. Experts in Persian and Indian music composed eulogies of Sultan in the form of

qaul and ghazal which they rendered in every musical air.

Barani’s observations are extremely significant. In fact, they reflect the efforts of Indian

performing artistes to adapt to the changing demands of the period and match the taste of the

new patrons. They mastered the Persian language which had emerged as the language of the new

aristocratic circle; they became expert in the latest styles and techniques of musical arts

popularized by the central Asian and Khurasani musicians. Thus, there was a temporary set back

to the community of natas, the traditional instructors of Sangit. By adapting themselves to the

new artistic requirements they retained their status as instructors of musical arts until the end of

the seventeenth century.

A process of the assimilation of Indian and Persian musical tradition also started about

this time. Many of the early medieval musical forms such as suryaprakash and chandrapakash

began to be performed by Muslim musicians. These forms have been mentioned in the Persian

musical treatises as marg music, and their knowledge was considered essential for the nayaks

(maestro) even as late as the nineteenth century. Geet had a profound influence on many of the

musical forms which took place during the thirteenth century, especially qaul which had a

striking similarity with it to the extent that it was regarded as the equivalent of geet. Some of the

instruments, especially nay or shahnai became associated with Indian rituals and festivities.

A fair picture in the realm of vocal and instrumental music is available in A’ijaz- i

Khusravi of Amir Khusrau, written in the first quarter of the fourteenth century, which has an

entire section on music at the court of the Khalji Sultans. About the royal entertainers Khusrau

remarks that Instrumentalists and vocalists remain nearest to the throne and enchant the listeners

with their humming and graceful string-play, and that their melodies attract people as honey

seizes bees. Khusrau’s appraisal of the qawwals of the royal court provides an idea of new

techniques of song and rhythm as developed in Delhi; their musical compositions bewildered the

musical composers of Arab and Persia. They employed handclaps for making the rhythm. Even

the most exalted and proud vocalists were taken aback by their art.

(iii) Synthesis of court and folk performance tradition

It was in fact a unique phenomenon of the fourteenth century that court culture came in

close contact with folk culture through persons who were intimate with both the circles, and

Khusrau was the foremost among them. He was a master of the Persian language and a prolific

poet and prose writer. Barani mentions his great expertise in the art of singing and melody-

making. Khusrau enjoyed the longest tenure of association with the court. He also had strong

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links with the Sufi khanqah of the Chishti order which was the most effective venue of cultural

sharing He was a devotee of Shaikh Nizamuddin Auliya (d. 1325) and well versed in the

practices related to sama (Sufi music). Thus Khusrau had the rare opportunity of acquiring

knowledge of Turko-Persian court traditions, as well as Indian classical and folk traditions,

which were taking roots in sama. He combined this knowledge in the fashioning of qaul, tarana,

tillana, naqsh, nigar, basit, fard, farsi, and sohla.1 In these musical forms Khusrau blended

Indian and Persian music techniques. For mass appeal he composed songs in desi, the spoken

dialect of the Delhi region. Khusrau, thus, tried to join two musical cultures, which became the

foundation stone of Hindustani music.

These new forms gained currency through the community of qawwals. They became the

custodians of Turko-Persian traditions and at the same time they popularized the new forms. The

sama music was Indianised and attained a status of its own through this class of performers.

During this period the traditional prabandh form was denounced by Indian poet saints

and adopted chhand, pad, and doha. They also began to compose in regional languages. It is in

this scenario that most of the musical forms, such as shabd, dhrupad, and bishnupad took shape

in due course. A good part of medieval music, thus, evolved in a religious setting, but one which

assimilated strands from both popular Hindu and popular Islamic forms.

The traditions which evolved with the Khaljis continued to flourish during the fourteenth

century under the Tughlaqs. Glimpses of these are preserved in the accounts of The Arab

travelers Ibn-i Battuta and Shahabuddin al-Umari, who came to India during the reign of

Muhammad bin Tughlaq (r. 1325-51). The musicians of Delhi lived in a separate colony called

Tarababad which was located near Hauz- i Khas. Their colony (Ibn-i Battuta calls it “market”)

was one of the largest in the world. A similar locality/market existed at Daultabad, the new

capital founded by Muhammad bin Tughlaq in the Deccan. Interestingly, both these places had

mosques which were frequented by women musicians in large numbers.

(iv) The revival of theatrical arts

This period witnessed, to some extent, the revival of theatrical arts in the form of paturbazi

(performance by a patur). It is likely that the term patur or patar stemmed from Sanskrit patri

(an actress). Sufi poet Malik Muhammad Jayasi refers to one patur in the akhara (a sort of

playhouse) of Sultan Alauddin Khalji who was a swangi and excelled in the acting and make-up

of a jogan (a yogini). One can infer that some of the courtesans acquired expertise in different

1Qaul was a musical form of Arabic origin. In it verses were rendered along with rhythmic syllables.

Tarana was a musical form akin to geet in its rhythmic structure. In its rhythmic syllables were

interwoven with the text.

Tillana was a musical form wherein rhythmic syllables were rendered in place of song-text.

Naqsh was equivalent to man a musical tradition in Prakrit.

Nigar was a counterpart of suravrti (sargam).

Basit was like chhand and was a kind of geet.

Fard was a form of tillana wherein a single verse was incorporated in the tal oriented musical structure.

Farsi was a form of tillana in which verses from ghazal and qasida were rendered along with rhythmic

syllable.

Sohla was a musical form rendered on the occasion of festivities. Later on it became associated with the

devotional music of the Sikhs. .

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kinds of make up and the art of disguise which was known swang during this period. Bhagat-

bazi was another important art which found vogue around the sixteenth century. It was similar to

bhandeti in its essentials except in respect of make-up. Bhagat-bazi survived as a favourite

pastime of the upper classes until around the close of the eighteenth century.

(v) Musical arts in the Mughal capital Agra

The performance traditions developed under the sultans of Delhi continued to flourish

even after the decline of the Delhi Sultanate in the new centres of art and culture Jaunpur and

Gwalior, which emerged during the late fifteenth century. Musical arts witnessed unprecedented

progress in both these places. By this time the fusion of the Turko-Persian and Indian musical

traditions was effected in such a way that it contributed to the emergence of a new musical

culture which found favour with all sections of society. All these elements contributed greatly to

the emergence of a rich classical tradition of the Mughal court at Agra under Akbar. He

patronized musicians and singers from different regions and countries on a grand scale. His court

was a great confluence of the musical geniuses from different regions of India as well as from all

around the Persian cultural sphere. Pandarika Vitthala, the musician and musicologist from

south, characterizes his court as sangitarnavamandi.’ Agra emerged as one of the leading centre

of musical arts in northern India under him. The leading forms were dhrupad, bishnupad, and

khayal, Karrakka and so on.

Akbar’s period is extremely important for the development of devotional poetry and

music in the Braj region. Braj-Bhasha, the dominant medium of poetic expression and the

favourite song language of the composer musicians, attained a classical status only after the

establishment of the Mughal court at Agra. The famous asht-chhap poet-musicians like Haridas,

Sur Das, and Nand Das flourished during this period. Ras-lila also attained classical status in the

Braj region.

Information about the community of performers is extremely limited in the sources. The

Ain-i Akbari, however, discusses the performing artistes at some length which makes it clear that

most Indian performing artistes belonged to a caste or tribe whose profession was singing and

dancing. They played one or more instruments or an art form which lent its name to the caste; for

instance hurukiya – who used to play on huruk – or bahu-rupi who practiced the art of disguise.

Dance was exclusive to a few castes – natwa and kanjari. The kirtaniya, bhagatiya, bhanvayya,

bahu-rupi, and bhands may be classed as theatre artistes. From the account of Shaikh Farid

Bhakkari, the author of Zakhirat ul Khawanin, it appears that luli, huruki, domni, kanchani, and

kamachini were the leading classes of female singers and dancers. The most reputed were the

kanchanis, who attended the grand weddings at the houses of the Mughal nobles for the purpose

of singing and dancing. In festive seasons they used to be admitted to the seragalio and even

allowed to visit the Meena bazaar. Shah Jahan often enjoyed their company.

From Shah Jahan’s time onwards music did not remain merely a channel of

entertainment, but continued to develop into a very minute science. Many connoisseurs of music

developed an interest in the principles and theories related to various aspects of music which

resulted in the compilation of numerous musical treatises on theory and performance traditions

of Hindustani music in Persian most of these were written during the reign of Auranzeb.

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The rich musical culture of the latter half of the seventeenth century, which corresponded

with the reign of Aurangzeb, is clearly evident in Rag Darpan and Tuhfat al-Hind. In spite of the

fact that Aurangzeb ‘gave up’ music from his tenth regional year, he did not prohibit it for

others. The Mughal paintings also reveal many interesting details about the contemporary

musical culture, musical instruments, and performance traditions.

(vi) Developments in the realm of music in Shahjahanabad

From about the middle of the seventeenth century, artistic and cultural activities shifted

from Agra to Shahjahanabad, the new capital city founded by the Mughal emperor Shah Jahan,

popularly known as Dehli. During the reign of Muhammad Shah, the Qila-i Mubarak (the

palace-fortress, popularly known as Lal Qila) had become the centre of cultural activities.

The musical arts received patronage of an exceptional nature not only from the court and

the elite circles but also from a large section of the local populace. Dancing and singing became

a favourite pastime as well as an integral part of all the festivities. No occasion of mirth or

festivity was ever wanting in these two arts. Sufi Assemblies (mahfil-i sama) were regularly

arranged at the tombs and shrines of saints on the occasion of urs and certain dates of the month,

especially the nauchandi. Even for ceremonies of sorrow such as Muharram there had developed

a special kind of music recitation called marsiya-khwani. As a result the number of professional

artistes burgeoned. A large number of outstanding singers flourished during this period. The

number of popular artistes was beyond count.

It is often maintained that music began to lose its grandeur and refinement during the

eighteenth century, and pure classical music declined considerably. General debasement is said

to have set in during the period. A closer examination of the available literature, however, makes

it clear that the expression 'decline' implies a decrease in the popularity of some of the elite styles

such as dhrupad and the growing vogue for khayal, tarana, tappa, and other dhun based musical

forms. This departure was not due to lack of any skill as outstanding singers from the family of

Tansen, and nayaks (super musicians) flourished in large numbers during this period. Instead, it

was due to the emergence of new patrons who came to prominence in the changed social and

political conditions and demanded such forms which had the backing of the popular musical

traditions of Delhi. They insisted on their own distinct tastes and traditions. Thus, the period was

not one of decline but rather one of transition with some important changes and modifications.

In fact, there was a crucial reduction in court patronage after the invasion of Nadir Shah

(1739), who deprived the Mughal ruler of the immense treasures and riches. Dargah Quli Khan,

the author of a contemporary Persian travelogue Muraqqa-i Dehli, pointedly remarks that 'since

the invasion of Nadir Shah, His Majesty Din Panah abstains himself from the musical soirees and

has suspended them at court'. As Mughal emperor and his nobility were loosing fortune, the elite

artistes were obliged to seek patronage from the patrons who were affluent enough to extend

sustenance to these eminent court artistes. This proved a boon for the popularization of those

court techniques which were hitherto forbidden to the general populace. True, music lost to

certain extent its sophistication and elitism, but it can not be denied that greater interaction of the

court artistes with those who had always performed for the commoners brought in results of

immense significance. Most importantly it led to the blending of classical and folk traditions.

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A significant feature of the period was that music, by and large, had come under the

domain of the dancing girls and courtesans. Most of them were well-versed in this art and were

trained by accomplished musicians of the time. Dargah Quli Khan, the author of the Persian

treatise Muraqqa-i Dehli, has mentioned a number of dancers and singers of the royal court who

were as authentic and acclaimed as many master musicians of the time with whom they used to

compete. These courtesans used to live in great style and most of them were well versed in the

manners and courtesies to be observed in the mehfils (tehzib-i akhlaq). The professional artistes

were numerous and prosperous is asserted by contemporary literature. Most of them commanded

respect in high society.

Music was appreciated in all circles. Musical assemblies were attracted large audience.

As Dargah Ali Khan tells us, people started arriving at these gatherings since morning. The

Festival of Basant, celebrated at the onset of spring, was a great occasion for the performing

artists of Delhi. The festivities and the hustle and bustle that commenced on this day continued

for a week.

This period is especially important for the development of the khayal-gayaki. It was

brought to perfection and popularized by Niyamat Khan Sadarang who was a master musician

attached to the court of Muhammad Shah and was considered at par with the nayaks of old days.

The popularity of khayal increased due to a number of factors mainly because it showed greater

adaptability for rhythmic variations. Kabitt, tarana, and Jangla were the other popular styles of

Delhi. Bhands used to be good dancers and musicians. The performance comedians and mimic

artistes, the bhands (also known naqqals), known as bhandeti, was as integral to a gathering as

dance and music. Bhandeti was a composite item of dance, music and mimicry.

Qawwali was integral to Sufi assemblies (mehfil-i sama), urs and other festivities. The

music of sama originally belonged to the khanqahs where it was performed for the attainment of

spiritual ecstasy. These song forms qaul, tarana, tillana, sohla, and other allied variants, which

were created by Amir Khusrau, were integrated into a composite performance tradition in

Shahjahanabad during the eighteenth century and came to be known as qawwali after the

qawwals, with whom qaul-tarana and other allied variants were associated. Qawwali

incorporated the stylistic features of khayal in many ways.

A number of changes appeared in instrumental music, too. There was a decrease in the

number of binkars (vina players), while the popularity of sitar increased day by day. Sarangi

became the standard accompanying instrument for courtesan’s dance songs. Some new

instrumental styles were also evolved.

The trends set in Dehli were perfected further in other places especially at Lucknow

which emerged as the cultural hub of northern India during the late eighteenth century. The

tradition of classical dance was revived at the Awadh court. Kathak as a dance style was

developed and codified here and designed as a chamber art under the patronage of King Wajid

Ali Shah. Regional patterns like tappa, thumri, and dadra were refined and became the most

popular musical forms at Lucknow. Marsiya-khwani, the music associated with the ritual of

Muharram, developed as an established art during the eighteenth century, and came to be known

as soz-khwani.

The urban theatre of north India also took shape at Lucknow under the auspices of the

king Wajid Ali Shah. However, it was the Indar Sabha of Mirza Amanat, produced outside the

Awadh court, which gave a definite direction to theatre. This assorted variety of dance, drama

and theatre paved the way of Parsi theatre in Bombay.

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Music During the British Period

(i) Changes in music patronage

Fundamental changes in music patronage appeared after the establishment of the British

rule in India. The British action against the local rulers largely cut off the courtly musical life and

deprived the communities of performers of elite patronage. The new administrators showed little

interest in ‘native’ performing arts and they treated the performing women as common

prostitutes and delineation of lasya and bhav-abhinaya in dance was treated by them as

lasciviousness. The new educated class also began to treat them with scorn and an era of

orthodoxy prevailed wherein all such performances came to be viewed through the mirror of

sexual morality to the extent that reputed courtesans stopped dancing. The courtesans began to

lose their coveted place and patronage. New classes of patrons from the lower rungs of society

began to extend their patronage to these arts and their practitioners. It ensured the survival of

some of the traditions though in a muted form.

Vocal music was, however, not deprived completely of elite patronage though it remained

confined to the courts of the Indian princes; in the absence of their genuine appreciation and

noble patronage it could have almost become extinct.

(ii) Contribution of British scholars to Indian musicology

The western scholars, however, went into a detailed study of Indian music giving

explanation of various musical terms prevalent in the professional parlance. They dealt with the

developments of traditions and trends of Indian music between eighteenth to twentieth centuries.

They certainly brought hidden treasure to light. Foreign authors wrote about the historical and

theatrical aspects of Indian music which had a great impact on those authors who were

conversant only with the English language. Their writings created immense interest in Indian

music. Many old treatises were translated into English and other languages. Sir William Jones

founded the Asiatic Society in 1784. He was a great scholar and acquainted with the theory of

music and his essay, The Musical Modes of the Hindus (published in 1793), is one of the earliest

and significant contribution by an English writer to the study of Indian music. Mr. Clements and

Mr. Deval of Sangli edited many books on music. Mr. Clements was one of those who opened

new avenues of critical and comparative standards from the view point of the Westerners.

Captain N.A.Willard, who was in the service of the Nawab of Banda was the first to

incorporate the Hindi and Urdu songs illustrating certain types of musical compositions along

with their notations. He also tried to provide a glossary of some important Indian musical terms.

He is the author of the famous work, A Treatise on the Music of Hindostan Comprising a detail

on the Ancient Theory and Modern Practice which was published in 1834. It made tremendous

impact on the authors of the late eighteenth century.

(iii) Contribution of Indian music scholars

During the later half of the nineteenth century some eminent Indian scholars took to the

study of Indian music. Sir S. M. Tagore is well known for his patronage to music. During the

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period of 1867-1896 he published a number of books on music. Amongst these The Universal

History of Music and Hindu Music from Various Authors, require particular mention. The

publication of the great song books such as Sur-Sagar and those of the Pushti marg about this

time also greatly revived the interest of the educated class in the old compositions.

Notable contribution towards the study of music was made by Pandit Vishnu Digambar, a

learned disciple of Pandit Balkrishnabuwa, who was a great music scholar and brilliant musician

of the Gwalior gharana. It was he who rescued music from the clutches of the vulgar caterers

and popularized it amongst the educated classes. He also prepared the way for the theories of

Pandit Bhatkhande and many others.

Pandit Bhatkhande established the current Hindustani music system on a sound

foundation. His Hindustani Sangīt-Paddhati describes the theory of music. In it he has tried to

trace the historical growth and transitions in the form of each raga, 2500 in numbers. It was a

gigantic task. Classical music was till then a close preserve of the ustads and subject of

admiration of only a few. Now it came to be appreciated by the educated classes. Theatrical arts

were also rejuvenated in the new scenario.

Modern Period

(i) Wide popularity of music

Musically there is a mass awakening in modern India. Due to the efforts of the western

and Indian musical scholars, music has regained its pride of place in Indian society as it had

enjoyed earlier on. People of respectable families and even women started learning it. Radio and

Television have widely popularized Indian musical arts even in the remotest areas. The role of

films is also considerable in this respect. Many musical societies have been founded in

cosmopolitan cities which are dedicated to the cause of music. They are also publishing rare

musical treatises in Sanskrit, Persian, Urdu and other languages. The branch of ethnomusicology

also developed to explore the domain of music which is not confined to one region or one style.

Indian and foreign universities are regularly organizing conferences on different aspects of

ethnomusicology wherein music scholars and practitioners of various instruments, vocalists and

dancers are actively participating. The public demand for the inclusion of music in our

educational system has, however, met with partial success.

(ii) Use of western instruments in Hindustani music

Some of the western instruments, such as violin, harmonium, guitar, mandolin, and

clarinet etc., are used extensively in Hindustani classical musical performances. Harmonium

became very popular as an accompaniment with thumri and khayal during the early eighteenth

century. It has produced very famous artistes like Bhaiya Ganpat Rao.

The modern orchestrisation and the choral group singing is purely an adaptation of the

west. Performing instruments in the form of an orchestra also existed in Indian tradition and

known as vrind, but its development in the shape of modern technique in orchestrisation is

influenced by the west. This trait is more pronounced in Indian light music, especially film

music. It has a large number of western instruments in the ensemble.

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Conclusion

Indian music is gaining tremendous popularity in other countries especially in the west. Although

Indian artistes kept on visiting the west from time to time but the west never went so crazy about

Indian music as in the last three decades. The credit goes to Ravi Shankar, Dagar brothers, Ustad

Zakir Husain, Ustad Amjad Ali Khan, Ustad Bismillah Khan, and many others who have made

the westerners to understand music in an Indian way. The dancing troupes organized by reputed

dancers like Birju Maharaj, Sonal Man Singh and many others have also popularized Indian

classical dances all over the world. The present-day music culture seems to be commercial and

mechanical because it has confined itself within the barrier of self-interest. Yet one should also

accept the fact that it is really becoming global.

Long Questions:

1. Examine the nature of medieval cultural in northern India.

2. Give an account of music culture in the British period with reference to Hindustani

music.

Suggested Readings:

1. G. H. Ranade, Hindustani Music (An outline of its Physics and aesthetics), Delhi, S. L. &

Co., 1951, second revised edition, 1989.

2. Madhu Trivedi, “Hindustani Music and Dance: An Examination of Some Texts in the

Indo-Persian Tradition”, in ‘The Making of Indo-Persian Culture: Indian and French

Studies’, eds. Muzaffar Alam, Françoise 'Nalini' Delvoye and Marc Gaborieau, Delhi:

Manohar, 2000.

3. ________”Female Performing Artistes in North India: A Survey”, in Art And Culture,

Vol. II, (eds) Ahsan Jan Qaisar & Som Prakash Verma, Delhi: Abhinav Publications,

2002.

4. _______ “Imperial Agra as the cultural Node: Late 16th

to early 17th

century”, paper

presented in a Seminar on Qazi Nurullah Shustari, held on 18th

-20th

January, Agra, 2003.

5. _______ “Cultural, linguistic and literary Dimension of the poetry of the Vaishnava

saints of the Braj Region”, paper presented in a Seminar on ‘Sufi and Bhakti Movements

in Medieval India’ held at Aligarh Muslim University, Aligarh on 13th

to 15th

January,

2004.

6. _______ “Lucknow: `The 19th

century Cultural Hub of north India”, paper presented in

an International Seminar on ‘Religion, Culture and Society: North India in the 19th

and

20th

Centuries’ organized in memory of Dr. K.G. Saiyidain by Centre for Jawaharlal

Nehru Studies & Academy of Third World Studies, Jamia Millia Islamia, New Delhi, 17-

19 December 2004.

7. Najma Parveen Ahmad, Hindustani Music, Manohar, Delhi, 1984.

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LESSION 4B

MUSIC CULTURE IN SOUTH INDIA T.K. Venkatasubramanian

Department of History

Delhi University

Introduction

Strange as it may strike us, music forms the only substantial cultural factor on which

India would admit of a dichotomy into Karnatak and Hindustani systems. Music continues as the

solid foundation of a cultural unity called South India or Dakshina Pradesh. This musical

heritage extends from the Pallava-Chola times when the Nayanmars and Alwars sang their

psalms, to our own times to-day, and territorially it binds all the four linguistic states of South

India. The indigenous cultural traditions of India had always sought their haven in the South.

From the point of view of history, research and reconstruction, what has been preserved in

Tamilnadu and Kerala, is of utmost importance to the whole of India.

It is a matter of common knowledge that Indian classical music has its origin in the

Saamaveda. Saama is from the Sanskrit root Saam which means ‘to be on the level ‘in unison’.

Another meaning of Saama is simply ‘a song’. Saama has borrowed the maatu, or words of the

songs from the Rigveda, but dhaatu, or composition of its music, is its own contribution. The

main contribution of the Saamaveda to Indian classical music is (1) A musical scale (2) Seeds of

the murchana or scale system, (3) rudiments of aesthetics, (4) rudiments of rhythm or tala and

(5) a system of notation.

The great classics of the Sangam age make a favourite theme of music. Silappathikaram

gives a comprehensive picture. The text is a happy blend of Iyal, Isai and Natakam. Evolution

of pann (raga), their eleven characteristics, key-notes (take offs) for different panns, exercises on

three primary scales, twelve divisions of the octave in the twelve Rasis are all talked about in this

text according to Tamil musicologists. However, an inscription found at Kudumiyamalai

(Pudukkottai) is of primary interest. Mahendravarman I, the Pallava king is reportedly the author

of this inscription. Mahendravarman’s craze for music and his taste for Nrittam, taalam and

layam are borne out by the characters in Mattavilasaprahasana. The music referred to in the

inscription belongs to the sphere abhyasa gaana (technical exercise) for developing finger

technique in Vina play (Chatushprakara-Svaragama). The name of the Vina was Parivadini, a

seven stringed Vina. When the inscription was carved probably the bifurcation of the two

systems Hindustani and Karnatak had not come into existence. An inscription

belonging to A.D 750 (Navdivarma Pallava III) states that Tirupathigam (singing the praise of

God) had become part of temple ritual in the first half of eighth century A.D.

The institution of reciting (singing) the sacred hymns composed by the first three

Samayacharyas came into existence in the ninth century A.D. and that of consecrating their

images in the tenth century A.D. As endeavours of religious fervour they grew in intensity

through eleventh, twelfth and thirteenth centuries. Among the Nayanmars, Jnana Sambandha

had a contemporary and close association with Nilakantha by name who was a player on lute,

Yazhpanar. A story is recorded that one of the tunes of Sambandha could not be reproduced on

the stringed instrument, the yazh. Aanaaya Nayanar, worshipped Siva with his flute music. The

music of these times is represented also by the pslams of the Vaishnavite Alwars whose songs

were sung, played on the lute, and even rendered in gesture according to tradition. We find

reference to music and lute and with Vina here also.

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The Vaishnavite hymns are now recited without music while the Saivite hymns of

Tevaram are still sung musically. The music of Tevaram was being again and again re-identified

and labelled in terms of the nearest approximations of the melodic modes of the music current in

respective ages. The Tiruvaduturai Mutt Palm leaf manuscripts (A.D. 1742) has the following

list of older melodies and their modern approximations.

The ten panns of the day.

1. Puranirmai Srikanti

2. Gandharam Hejjujji

3. Kausika Bhairavi

4. Indalam Lalita Panchami

5. Takkesi Kambhodhi

6. Nattaraga, Sadari Pantuvarali

7. Nattapaadai Naataikurinji

8. Pazham Panchuram Sankarabharanam

9. Gandharapanchamam Kedaragaulam

10. Panchamam Ahiri

The eight panns of the night.

11. Takkaraga Kannada Kambodhi

12. Pazham Takkaraga Suddhasaveri

13. Sikaamaram Naadanamaakriya

14. Tiruvirattam Sindhu Kannada

15. Vyazha-kurinchi Saurashtra

16. Megaraga Kurunchi Neelambari

17. Kurinji Malahari

18. Aandhali Kurinji Sailadesaki

Three common panns

19. Sevvazhi Yedukula Kambhodhi

20. Senturuthi Madhyamavati

21. Tiruttandakam Begada

The sacred Tamil hymns of the Saiva Nayanmars, Tevaram esteemed as Tamil Veda, got

accumulated in the Pallava period and later collected and codified by Nambi Andar Nambi

during the grand monarchs Rajaraja I and Rajendra I. The institution of arranging their singing

in the temples which began in 750 AD was further developed and regularly managed through

state supervision. Paalur inscription of Rajakesari, Tiruvaduthurai inscription of Parantaka,

Aandanallur inscription of Uttama Chola bear testimony to the practice of both singing and

endowments to the singers. The chola state had a government superintendent of Tevaram called

Tevaranayakam. Provision for singing of Vanishnava sacred hymns Tiruvoymozhi is also

attested by inscriptions of the sacred composers of the Chola times there were royal composers

like Gandaraditya and patrons like Sadayappa Vallal who patronised Kamban. Terms like

Vinaikhani, Geya-Vinoda-Vala-nadu, Nritta Vinoda, etc. bear testimony to the importance of

music and dance during the Chola period.

King Somesvara III of Kalyan, has bequeathed to us an encyclopedia called Monasollasa

or Abhilasitartha-cintamani written in A.D 1131. It is one of the few available texts on Indian

painting. The text contains valuable section on music and dance too. This text has influenced

later texts like Siva-tatvaratnakara and Silparatna. Various music writers like Sarangadeva and

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Parsvadeva are referred to in these texts. The music section of the Somesvara’s thesaurus, which

is used by Sarangadeva is indeed valuable. Gita-Vinoda, Vadya-Vindoa and Tala-Vadyas

receives great attention. The treatment opens with Prakirnaka or miscellaneous topics like the

merits and demerits of good and bad singers, qualities of voice etc. It talks about different types

of songs which appeal to different kind of people. Somesvara enumerates the Ragas in classified

sets, the Suddhas, the Gaudas, the Sadharana’s and so on. Ragas bear the names of the region

they come from like Turuki Todi etc.

The sub-section on Prabhandas is comparatively longer and includes illustrative

compositions. The most valuable data here are the citations of actual songs in Karnataka-bhasha

like Satpadi, Kanda and Varna in the same language. Somesvara mentions about popular folk-

songs like Tripadi (corn-thrashing, love and separation), Satpadi (ballads), Dhavala (marriage

songs), Mangala (festival songs), Raahadi (soldiers) and Dandi (by Shepherds). Vadyas and

Talavadyas also receive adequate treatment. Somesvara’s son Jagadegamalla Pratapachakravarti

wrote Sangita Chadamani, available in Bikaner archives in manuscript form. Another Chalukya

prince produced a work called Sangitasudhakara.

Under King Singhana (A.D 1210-1247) of the Yadavas of Devagiri, Sarangadeva of

Kashmiri stock produced Sangitaratnakara. This was an epitome of all the earlier works. It uses

Abhinavagupta’s commentary on Natyashastra and Bharatbhashya of King Nanyadeva of

Mithila. All later works reproduce from the Sangitaratnakara to a large extent on the

fundamentals of music like Srutis, Jathis, older Ragas, Prabhandhas, Talas and Prakiranaka

comprising voice, concert, composer etc. Sangitaratnakara occupies a position analogues to that

of Kavya-Prakasa of Mammata on rhetoric. The values of this work is attested to by the large

number of commentaries on this work. The author assumes a title Nissanka, and mention a new

Tala, a new Vina etc. A little later, Parsvadeva wrote a music treatise Sangita Samayasara

which refers to Bhoja, Somesvara and Pratapa and their music works. He was the disciple of

Mahadevacharya and had high musical titles like Sangitaakara (the mine of music).

About A.D 1300, Gopala Nayaka had the musical prowess to compete with Amir Khusru.

May be the seeds of Hindustani style was sown in the 14th

century Deccan. Later on,

Venkatamakin’s Chaturdandiprakasika acknowledges that only Gopala Nayaka understood Sruti

and was the promulgation of the Chaturdandi i.e. Gita, Prabhandha, Thaya and Alapa, a

fourfold delineation of Raga forms Kallinatha, in his commentary on the Sangitaratnakara, cites

one of the compositions of Gopala Nayaka in a series of melodies called Raga Kadamba. It

should be noted that one of the four forms of Chaturdandi Prabhanda evolved into the Kirtana

or Kriti. Kakatiya times record in inscriptions gifts to temple musicians for Gita, Vadya and

Nritya. There are terms like Mridangavadaka, Randhrapuraka, Kahaladhmata and Jalaja-

karanda-vadaka etc. Kakatiya king Ganapati’s time produced a treatise titled Nrittaratnavali.

The text was written by Jaya-senapati (A.D 1253-54) and contains a chapter Gitaratnavali. This

work is mentioned by King Tulaja of Tanjore in the later centuries. The Kakatiya temples bear

testimony to the knowledge of dance and music through sculpture.

Palkuriki Somanatha, produced Basava-purana and Panditharadhyacharita during

Prataparudra’s times. The above mentioned works speak on music, the elements of art, kinds of

instruments and a list of Ragas, 19 aspects of Vina playing, 108 talas, 7 kinds of Alapa, 22

Gamakas and 108 Ragas are given. Ragas came to be classified as Shadava and Audava, Raga

and Napumsaka, Sanga, Kriyanga and Upanga. Music and dance were certainly very

extensively practiced during the Kakatiya period. Other important works in medieval Andhra

were Simhabhupala’s Rasarnava Sudhakara and Sangita Sudhakara. Viranarayana produced

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Sangita Chintamani, whose manuscript is available at Trivandrum. Another author added a

supplement to this work titled Sahitya Chintamani.

Chatura Kallinatha, the commentator on Sangita-Ratnakara is the author of Kalanidhi

(A.D. 1446-65). This is the only commentary available to us at present in print on Sangita

Ratnakara. In the introductory verses Kallinataka describes the Karnatakadesa as the territory

between Kaveri and Krishna rivers and the kingdom of Vidyanagar (Vijayanagar) on the banks

of Tungabhadra river. On the tenth verse Kalhinatha gives his bio-data. He was patronised by

Immidideva who is assigned to 15th

century. Kallinatha calls himself Sakshatsangitadevata. The

colophons give other titles like Abhinava Bharatacharya, Raja Vaggeyakara, Rayabhayakara

and Todava malla. King Tulaja of Tanjore quote him extensively in a later century, Kallinatha’s

work quotes heavily from Matanga, Barata, Navdikesvara, Vema, Dattila and others bearing

testimony to the continuities in Sangita as well as Sastras. Lakshmidara and Kumba-Rana of

Mewar are noteworthy writers on music.

The family of Tallapakkam poets, musician-devotees deserve special mention in the 15th

and centuries. They composed heaps of Sankirtanas in Telegu on Lord Venkatesvara of

Tirupati, most of which are engraved on copper plates lying in the temple there. Annamacharya,

composed songs on philosophy and love. Pedda Tirumala, his son, made similar and more

copious contribution. Chinna Tirumala, wrote two series of Kirtanas on philosophy and love and

a short treatise.

Sankirtana Lakshana, a Telegu version of his grandfather’s work in Sanskrit. This work

is important in the history of the evolution of the form of South Indian musical composition. The

compositions are a minefold for Raga research, as well as the devotional Bhajana-Sampradaya.

Sage Vidyaranya wrote a treatise on music called Sangita-Sara which speaks for the first

time about codification of Ragas under a scheme called Mela or Melapaddhati. The time of

Devaraya II (A.D 1423-46) was a period of great musical activity. Gopendra Tippa was

interested both in Sangita and Sahitya. He wrote a gloss on Vamana’s Kavyalankara Sutras and

Taladipika. He deals theoretically with Margi and Desi Talas. During this period a Tamil

devotee and composer, the author of Tiruppugaz (Glorious praise) flourished. Arunagiri

glorified all the South Indian shrines of Subrahmanya, through his achievements in respect of the

rich variety of rhythmic patterns. Krishnadevaraya’s rule is also marked for musical activity.

Lakshminarayana, bearing the title Royal musician and Todaramalla, wrote Sangita Suryodaya

(manuscript available at Madras), Karnataka Saints belonging to the ‘Dasakuta’ also flourished

during this period. Purandaradasa, referred to as Pitamaha of Karnataka saints belonging to the

‘Dasakuta’ also flourished during this period. Purandaradasa, referred to as Pitamaha of

Karnatak music is well-known. Sripadaraya, a precursor to Purandaradasa, refers to Saluwa

Narasimha in one of his songs. Of his numerous songs in Kannada, the Bhramaragita, the

Venugita and the Gopigita based on Bhagavata are important. The whole of the tenth book of

the Bhagavata was turned by him into Kannada songs. Vyasaraya of the Madwa School and

Dvaita literature also belonged to early Vijayanagara period who lived upto Krishnadevaraya’s

region period. Vyasaraya composed lot of kirtanas called Vrtta Nama, an alternation of songs

and metrical verse. Vadiraja was another Kirtanakar of fifteenth century. The entire tradition

crystallised into the genius of Purandaradasa (A.D 1480-1564) producing 4,75,000 compositions

of various genres. From a banker’s life, Srinivasa Naik (Purandaradasa) became a great devotee

of Vittala of Pandiripura and migrated to the Vijayanagar capital in his spiritual itinerary, during

Krishnadevaraya’s time. Simple in diction and conveying devotion, ethics and high spiritual

truths in a popular manner Purandaradasa became the bridge between the Karnatic and

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Hindustani schools of Indian music. Probably, at this time that South Indian music attained a

specific name Karnatak (Karnataka?) or Karnatic, Purandaradasa produced the beginners Gita, as

well as elaborate and erudite Sutadis. He composed various types of songs, introduced the basic

scale of Malavagaula and composed Gitams for the beginners in that scale. Kanakadasa was a

distinguished disciple of Purandaradasa.

Ramamatya of Kondavidu, a contemporary of Ramaraya wrote the musical treatise

Svaramelakalanidhi in the year A.D 1550. Ramamatya, refers to himself as a composer and

grandson of the renowned musician Kallapadesika. Ramamatya described twenty Melas,

beginning with Mukhari and sixty four Janya-ragas or derivative modes. The Achyutarajamela

Vina obviously refers to Achyutaraya. To him belongs the credit of a clear recognition of the

Svayambu Svaras, the upper partials or harmonics and the need for drone or Sruti. It is probably

around this time that the frets on the Vina were fixed in such a manner that all Ragas could be

played conveniently. Peddanna’s Manucharita and Vasucharita also speak of Vinas around this

time.

The Tanjore Court under the Nayaks continued the patronage that Vijayanagar was

giving to music and dance. Raghunatha Nayak was himself a musician and expert in playing the

Vina, Sangita Sudha, a musical work is attributed to him and his minister Govinda Dikshita.

New Ragas like Jayantasena and new Talas like Ramananda came into vogue. Govinda

Dikshita also speaks of Sangita-Sastra-Samkshepa or Sangrahachudamani. It is worthwhile to

note that this works refer to an earlier work Sangitasastra by sage Vidyaranya and the dance-

drama Yahshagana and its style of music.

Govindadikshita’s son Venkatamakin wrote a treatise called Chaturdandiprakasita and

set forth the scheme of seventy two Melakartas. This cofidification and classification of Ragas

is a system different from the Raga-Ragini-Putra-Putri System of the north. It is built on the

twelve Swara-sthanas, thirty six of the Melas being Suddha Madhyama and the other thirty six

being derived from the change of this Madhyama into Prati Madhyama. This scheme of seventy

two was strictly a theoretical idea and all the Mela were not current in his time. In the course of

his book, Venkatamakin describes only nineteen melas and while describing Ragas he doesn’t

use his scheme. It has dealt with about fifty ragas in Tanappa style of Nyasa, Amsa etc.

Tanappa and Honappa appear to be Kannada names and Govindadikshita and Venkatamakin

were themselves Kannadigas. King Tulaja of the Maratta Tanjore sheds more light on the term

“Chaturdandi”, in his work Sangita Saramrita. Chaturdandi, has “four bars” namely Gita,

Prabandha, Thaya and Alapa. New Ragas are sung in Alapa and Kriti and Kirtana, but in those

days they were sung in all four forms. Definitive songs, Lokshaya Gitas for many of the parent

and derivative ragas were composed in the post - A.D 1650 period.

Tanjore had by now become the seat of music. Renowned musicians and composers

gravitated to Tanjore. The most eminent of these was Kshetrajna of Muvvapuri, who composed

Padams in Telugu. These compositions were couched in classic Telegu and set in slow tempo bring

out the Raga Bhava in full. Each padam depicts a mood of love, Sringararasa with God, the deity

Gopala of Muvvapuri. Sri Ramadasa of Bhadrachala, Narayana Tirtha, the composer of Krishna Lila

Tarangini and the Melattur Bhagavata Mela also belong to this period.

Tiruvarur in Tanjore District occupies a place in the musical map of South as Bayreuth for

western music. This was the birth place (as if by appointment) of the Trinity of Karnatak music,

Thyagaraja (A.D. 1767-1847), Muthuswami Dikshitar (A.D. 1775-1835) and Syama Sastri (A.D.

1762-1827). Thyagaraja is claimed to have authored twenty-four thousand compositions. The

number available to us at present is just seven hundred and five. His contribution to the world of

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music can be better appreciated by taking stock of the Raga media he inherited, along with the other

two. Dikshitar refers to himself as Vainika-Gayaka (a vocalist and a master of Vina) and Pandita

tara. The Vina endowed him with style while his scholarly zest enabled him to give exhaustive

expositions of individual ragas as well as the science of ragas. Syama Sastri’s Sarman was

Venkatasubrahmanya. His mudra was “Shyama Krishna”. Unlike his two contemporaries whose

output was prodigious, Shyama Sastri excelled in Swarajatis, Manji and Anandabhairavi. It is usual

to point out that among the Trinity, Thyagaraja is noteworthy of Bhava, Dhikshitar for Raga and

Shyama Sastri for Tala.

Conclusion

Classical Karnatak music was preserved through practice and was handed down by

tradition from Guru to Sishya. The Gurukula-Vasa dwindled both in duration and devotion

gradually. Bhakti (devotion) is basic and integral to the art of music in South India. The great

music composers beginning with Tevaram and Divyaprabandham have been Saints and teachers

of the path of devotion. Music has played the role of a Sadhana of Bhakti to a personal God.

Cultivation of pure music, of instrument and voice, irrespective of words of the song, has been

considered Nadayoga. The history of the art of music shows a dual stream of Ganga and

Yamuna, a treatment invigoration and enrichment of the main tradition by local forms which

were fitted into the basic technique and higher ideology of the classical tradition. The Desi

supplied the material, the Marga refined it and assigned it a place in the larger and richer

scheme. The popular and the classical thus became the two currents of the energy of our culture.

Long Questions:

1. Give an account of the different musical traditions of South India.

2. Examine the nature of music culture of South India in pre-Vijayanagara times.

3. Examine the nature of music culture of South India in post-Vijayanagara times.

Suggested Readings:

1. S. Ranga Ramanuja Iyengar, History of South Indian (Carnatic) Music, Madras, 1972.

2. P. Samba Murthi, South Indian Music, 1968.

3. T.V. Kuppuswami, Carnatic Music and the Tamils, 1992

4. S. Seetha, Tanjore as a Seat of Music (During 17th, 18th & 19th centuries), 1981

5. V. Raghavan, Collected Writings on Indian Music, 2007.

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LESSON 4C

INDIAN CLASSICAL DANCE

Kanak Rele Director

Nalanda Dance Research Centre

Mumbai.

Introduction

All artistic endeavour of men are symbols through which they communicate the deep and

abiding feelings and emotions which are beyond ordinary speech. Art is one of the most essential

activities for the mere existence of men, just as religion is. It is the fundamental need of human

beings to communicate. Bereft of the means of communicating with other human beings a man

ultimately loses all his senses and either degenerates to the animal level or even dies. Art is

communication at the deepest and lasting level.

True art has that indestructible quality that outlasts life, conditions, trends and all the

changing conditions of this dynamic world. And transcending the barriers of time it effects

people in a very deep and moving manner. This is true of all art and specially of dancing which

because it is totally dependent on the human body, is the most malleable art. And it is the oldest

one.

The cultural history of Bharat is of a very ancient origin – something that cannot be

pinpointed. One can surmise that it is probably one of the oldest cultures in existence today. This

culture is made of many glorious facets – just as a diamond is. One of them is its robust and

thriving theatrical tradition. By theatrical it is meant all that which pertains to what we term as

the performing arts – drama, music and dance. All the three are irrevocably interwoven in the

Indian context. Drama and dance appear to be like two sides of the same coin wherein music

(sangeeta) playing the binding force. In the Indian context drama (naatya) cannot be devoid of

dance (nritta and nritya) and music (sangeeta – both geeta and vaadya). All the three arts have

played a very major role in the social life of our country from time immemorial. As early as the

5th

century B.C. the cultured sophisticated section of the society had felt the need to regularise

the diverse theatrical practices abounding in the country which was then referred to as

Jambudveepa. It was but natural that the vast geographical expanse that constituted the country

which teemed with diverse Aryan tribes would bring their own cultural ethos. At the same time

the original inhabitants had their own very well established cultures. The coming together of

these diverse traditions in different parts of the country resulted in rather individualistic cultural

strains. But one fact that emerges with certainty is that music, dance and drama were an integral

part of human life. The country was very steadily achieving a cohesive social fabric, the

cohesiveness embracing religio- philosophical thoughts, familial norms, economic governance

and that unavoidable element, entertainment, which is essential for the well being of a normal

human being. At some stage very early in its evolution the society also gave forth the caste

system which resulted in polarisation of its members. The so called lower strata of the society

had its own channels of entertainment, the higher strata having its own which was certainly

sophisticated and well planned. It is to regulate this sophisticated element that an effort of

gigantic magnitude was initiated which resulted in a text of unparalleled foresight and efficacy –

The Natyashastra (Science of Dramatergy) enveloping the performing arts, delineating a very

definite and precise set of rules which guides the triad of drama, dance and music. A later

development dictates that the authenticity of any performing art is tested on the dicta of this

particular set of rules propounded in the Naatyashaastra. The Natyashastra is attributed to the

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legendary sage Bharata and the scholars and performers of every era have sworn allegiance to it.

As for the components of this art of naatya (which includes the other performing arts music and

dance) Bharata says “ I shall create a fifth Veda on naatya with itihasa and which includes all

shastras and will give a review of all the shilpas”. And again he states :

“There is no wise maxim, no learning, no art or craft, no action that is not found in the

drama (naatya)”.

The Natyashastra is thus neither a treatise exclusively for drama as advocated by some

nor a treatise on dance as believed by some other votaries. On the contrary the rules guiding the

practice of dance have to be very carefully and discerningly culled from the dicta of Bharata

generally meant for drama. Once this sifted and sieved set of rules is determined dance emerges

as an independent art yet it continues to be an integral part of drama.

About the nature of his naatya, Bharata states, “When human nature comprising joys and

sorrows is depicted by the means of representation (abhinaya) like aangika, saattvika etc. it is

called naatya”.

Without going into a detailed study of the dicta of the Natyashastralet us turn to the

technique that it delineates. In the above referred shloka Bharata introduces us to the component

“abhinaya” and its two varieties – aangika, saattvika.

Before man can achieve anything, he must breathe and move. This movement is the

source of life and dance is the supreme movement which was very essential to primitive life.

Failure to understand and appreciate dancing is failure to understand not merely the supreme

manifestation of physical life, but also the supreme symbol of spiritual life. What then is dancing

and its significance?

Dancing in its widest sense is the personalised human reaction to the appeal of a general

rhythm which marks not only human life but the universe. Dancing is an arrangement or pattern

in space as architecture and painting and sculpture are and employs spatial rhythm. And like

music, it is an arrangement in time employing rhythm. Thus dance is the only art which can be

called time-space art, employing rhythm in both the spheres – audible and visual.

The earliest evidence of the art of dancing in India comes from the post-neolithic culture

– Indus Valley Civilization or the Harappan culture, which “in all its maturity was in existence at

the beginning of the third millennium B.C.”. There are two very beautiful statuettes – that of the

torso of a male dancer from Harappa and a copper figurine of the dancing girl from Mohenjo-

Daro. These figures not only stand testimony to a very advanced stage of the artistic creativity of

the sculpture but also to the fact that dance as an art must have played sufficiently important part

in the life of the people and was in an advanced stage of development. For these statuettes appear

to be conveying the tremendous relationship of man’s innermost nature to that of the force of the

external nature surrounding him. There have been a good number of statuettes from the

excavations in this area but none seem to come in this class where a very definite physical

attitude is sought to be conveyed.

Historically the flowering and popularity of the performing arts have fluctuated from era

to era. Upon a systematic inquiry, there emerges a very definite and precise set of rules which

guide these performing arts – specially music, dance and drama. Another fact that emerges is that

the authenticity of any performing art is tested on the dicta of this particular set of rules. And

unanimously this set of rules has been attributed by scholars of every era to the unique text called

the Natyashastra ascribed to the legendary sage Bharata.

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Natyashastra

The Natyashastra (science of Dramaturgy) is a unique work of Sanskrit literature.

Judging by its title, this voluminous text should deal with theatre, but it is in fact, an

encyclopedia which deals with allied subjects and arts which go with the theatre and successful

stage presentation. The aim of not only the art of naatya but all arts according to the ancient

Indian art thought which can more appropriately be termed as Hindu thought, is the creation of

Rasa (the aesthetic object) through the Rasasvaada (the aesthetic experience).

His instructions envelop chiefly

1) The dramatist - In the writing of his play, the language to be employed

characteristics of different types of plays and the analysis of

their structure.

2) The stage manager - Their qualifications, the ritual that they follow, their duties

and director. etc.

3) The actor and the - Their qualifications, physical attributes, proficiency,

actress characterization, casting.

4) The pooja and - The entire ritualistic aspect connected with the stage presentation

preliminaries according to Hindu thought.

5) The auditorium - Specifications, construction and the religious ceremony to be

conducted for consecration.

6) The greenroom - Costume and makeup of the different characters.

Manager

7) The music - Musical accompaniment for a stage presentation which include

the theory of music in general singing of songs, playing of

various types of instruments, taalas etc.

8) The dance - The dance movements appropriate for men and women and their

classification.

As found in the Natyashastra the technique of naatya (drama) which applies broadly to

dance as well consists of the following three major components.

1. Dharmee (modes of presentation).

Dharmee is of two types – lokadharmee and naatyadharmee. The Indian dramatist very

early in the history of development of this art realized that to determine the correct

technique of the presentation of naatya (inclusive of dance) the exact place and quantum

of realism will have to be very accurately laid down. The lokadharmee is the realistic

mode of presentation where the natural behaviour of people is represented on the stage.

The naatyadharmee is highly conventionalized or stylised mode of presentation.

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The former appears to be more natural while the latter is definitely studied and

preconceived as well as preplanned.

2. Vritti (styles of composition).

Bharata lists four vrittis – bhaaratee (verbal), saattvatee (grand), aarabhatee (energetic)

and kaishikee (graceful).

3. Abhinaya (type of acting).

This can be termed as representation. Bharata lists four abhinayas saattvika (to do with

the soul), aangika (to do with the body), aahaarya (make up, costuming etc) and

vaachika (spoken words, songs etc). The etymology of this term is very interesting and

revealing. This term is of the greatest importance to the study of dance as it is undertaken

today.

abhi : near, towards

ni (naya) : conduct, guide

abhinaya : conduct, to represent on the stage, mimic.

The term abhinaya thus can be interpreted as “an act of conducting towards or near”.

This act of conduction is towards the spectator from the stage and is of the nature of mime. The

thing to be conducted is the idea, subject or the soul of the stage presentation. So it is quite

natural that this act of acquainting the spectator with the central ideas or theme of the stage

presentation should be of various kinds like the bodily movements (aangika), spoken word

(vaachika) etc. And the most important thing to be remembered is that this particular act of

conducting towards is performed by the performer.

This would mean that abhinaya is the primary means or vehicle for the communication of

the experience of the world; so drama (naatya) and dance are stage presentation where the

experiences of the world are communicated by means of abhinaya. Thus there cannot be any

drama or dance without abhinaya.

At this juncture it would be pertinent to understand Dance.

Dance

Dancing in its widest sense is the personalised human reaction to the appeal of a general

rhythm which marks not only human life but the universe. It is this rhythm which regulates the

universe and is the most essential and basic requirement of human life. It is this rhythm which is

called “laya” in Indian art philosophy that influences all the physical and spiritual manifestations

of life. And dancing based and woven round rhythm, then assumes a tremendous importance for

man and also assumes spiritual qualities.

It is the fundamental need of human beings to communicate. Art is communication at the

deepest and most lasting level. Transcending the barriers of time it affects people in a very deep

and moving manner. This is true of all art and specially of dancing, which because it is totally

dependent on the human body, is the most malleable art. And it is the oldest art.

The art of dancing then would mean two distinct components.

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Dance

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Form : Tangible Content : Intangible

To the Indian concept of dance, neither of the components by itself could sustain the

totality of dance.

The Content of dance down the ages was religion and various philosophical thoughts.

One and all, these spiritual and intellectual beliefs of the people strived to take man nearer to the

Supreme and to ultimately merge with the Supreme and achieve “moksha” (Salvation). For those

who were of a simpler turn of mind, who could not grasp the higher metaphysics provided by the

lofty schools of philosophy, Hinduism found an answer in the simple mode of “bhakti”

(devotion) which would lead them towards the Supreme and “moksha”.

The form of dancing is a more tangible concept. It is very easy to observe and study the

form of dance as it exists today. It is also an easier task to know of the form of dancing through

ages from sculpture, painting and the evidence available from literature.

Apart from leading the practitioner and the beholder towards “moksha” all true Indian

arts (and more so classical) have a second and an equally important aim to achieve- that is the

creation of the supreme aesthetic experience – the “Rasa”.

In India eventual classicism was based on the gradual development of the composite

theatrical tradition towards a well defined form governed by a set of definite rules which

emerged gradually the set of rules being codified in the Natyashastra which appears to be the

only extant text on dramaturgy available to us. Rather than calling it a text one should call the

Natyashastra a workman’s manual.

If one looks around the classical dance scene today one notices the fact that almost all the

dance styles adhere to the Natyashastra whereas individually they may also follow some

regional text or a more concise one like the Abhinayadarpana or the Bharataarnava – both

attributed to Nandikeshvara.

It needs to be noted here that the term “nritya” as we understand it today has not been

used by Bharata – there is no mention of this term in the Natyashastra. The entire aim of the

Natyashastra dicta is to ccreate Rasa (aesthetic experience or enjoyment) and it sets about to

achieve this aim by the practice of the two dharmees, four vrittis and four abhinayas. It also

deals with what can be termed prosody, music inclusive of talas and other co-related subjects.

Just as after Bharata the new term to describe emotive dance adopted by practioners and

scholars alike – nritya there emerged another dichotomy in the classification of dance – tandava

and lasya. Bharata uses the term tandava rather frequently. It appears that in Bharata’s opinion

any dance should be kept under the taandava category. The term lasya is once again not used by

Bharata – the word used by him is “sukumara” that is the gentle or delicate dance. Yet today we

very freely use the terms taandava for male oriented and lasya for female oriented dance.

This leads to the following categorisation :-

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Types of Dance

a) Nritya which is abstract dance; in the Natyashastra it is either discussed as tandava or

under the general category of aangika abhinaya and is dealt with under various

movements of different parts of the body.

b) Nritya which does not find any mention in the Natyashastra the term having come into

vogue in the subsequent centuries. A study of other texts based on the Natyashastra like

the Abhinavabharati, Sangeetaratnakara, Bhavaprakasha and others highlights the fact

that this type of dance is geared towards the projection of bhavas which are mental or

emotional conditions inherent in human psyche in general.

c) Taandava which is the vigorous dance suitable for male representation.

d) Laasya which is the gentle or delicate dance suitable for female representation.

Let us now consider the four abhinayas.

Abhinayas

i) Saattvika abhinaya

Saattvika abhinaya is all human activity (abhinaya) which is directly the result of

the concentrated mind – as rising in the ‘manas’ – and is employed in either nritya or

naatya because of its imitating human nature. Saattvika abhinaya is that sentiment (rasa)

which is creaged by the psychological state (bhaava) of the mind on the particular

situation. This rasa permeates among the spectators, thereby enveloping them also in the

concentration experienced by the dancer. Thus it is the Saattvika abhinaya of the dancer

which guides the enjoyment and experiences of the spectator, in whom the sentiment or

rasa is created directly due to the bhaava as being expressed by the dancer, or rasika.

(one who enjoys the presentation)

Bharata lists eight basic emotions (sthaayi bhaavas) giving rise to the eight

sentiments (rasas) at the aesthetic universalized, depersonalized but intenssely human

level.

Sathaayi bhava Rasa

Rati Shringaara (enchantment or erotic)

Haasa Haasya (laughter)

Shoka Karuna (sorrow or pity)

Krodha Roudra (Anger)

Utsaaha Veera (Courage or Valour)

Bhaya Bhayaanaka (Fear)

Jugupsaa Bibhatsa (Disgust)

Vismaya Adbhuta (Wonderment)

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To these was later added the Shaanta Rasa which came up as a result of the

intensely moving bhakti cult appealing to the masses.

Bharata also lists 33 vyabhichaari bhavas or transient states.

ii) Aangika abhinaya

This abhinaya deals with the physical activities and movements of the body and is

represented by gestures and postures.

Bharata divides the bodily movements as ;

i) Pertaining to the body itself which he calls shaareera which is manifested through the

major limbs (angas) – shira (head), vaksha (chest), kati (waist), paarshva (sides), trika

(hips), uru (thighs), hasta (hands) and pada (feet).

ii) Pertaining to the face which he calls mukhaja and is manifested through the minor limbs

(upaangas) – bhru (eyebrows), puta (eyelids) , taara (eyeballs), naasaa (nose) , adhara

(lips), chibuka (chin), ganda (cheeks), danta (teath).

iii) Cheshtaakrita – Pertaining to body in general which is again of three types – shakha,

ankura and suchaa.

Out of these types of aangika abhinaya it is the mukhaja combined with the hasta

that is most relevant to the conveying of ideas and the creation of rasas. This does not

mean that the others have no part to play; the body functions as a whole and so the other

parts of the body have to follow suit. It only means that the other parts play a secondary

role.

The later texts have added one more classification and that is pratyangas where

the movements of the grivaa (neck), baahu (arms), jaanu (knee) gulpha (ankles) also

have been included. These works are the later works like Abhinayadarpana,

Sangitaratnaakara etc., a fact which confirms the premise that the post Bharata period

saw the emergence of dancing as an equally important art with an individuality all its

own. Dance has primarily to do with the movements of the body and thus it is but natural

that the concept of aangika abhinaya would receive greater importance.

iii) Vaachika abhinaya

This abhinaya deals with the use of speech and vocalisation in naatya as well as

dance representation. This would include the svaras (the musical notes to be sung in the

songs, playing of instruments etc)., sthana (pitches), kaaku (intonation) etc. In dance it

also includes the songs or lyrics which accompany a performance.

iv) Aahaarya abhinaya

This abhinaya deals with the use of costumes, jewellery, make-up etc., in

theatrical representation.

The above study brings home the fact with renewed vigour that same as there was

a tradition of the science of dramaturgy there developed in India an equally tradition

bound science of dance ,both being quite akin to each other nevertheless running along as

two definite and distinct streams. With the passage

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of time, unfortunately for India, one of the streams – drama – all but dried up. But the

mainstream of dance continued to flow and still does. It has been able to do so because of

the very definite set of rules guiding its scientific presentation thereby maintaining its

exquisite beauty – our classical (shaastriya) dances

Examined against this background one begins to appreciate the unity in diversity

of the contemporary classical Indian dances.

All these dance styles sprang from different areas of our country and are the

products of the culture of a definite ethnic group. And yet all trace the root source of their

origins to the technique of dance as first codified in the Natyashastra, the diversifying

elements being the language, musical mode, body kinetics and the overall aesthetic

principles being followed. Let us have a brief introduction to each of them.

BHARATA NATYAM

Bharata Natyam is the glorious dance style from the southern state Tamilnadu. One

cannot hazard a guess as to when it arose out of the soil of the Dravida culture. One finds

references dating from the first few centuries of the Christian era to a very vigorous system of

dance and music being practiced at the highest professional level in the Dravida country.

Today’s Bharata Natyam is the end product of this great tradition. It had several names

like Chinna Melam, Sadir, Dasiattam etc. It was also called “Bharatam” not after sage Bharata;

rather the term is derived from three essential facets of the style : “Bha” from ‘bhava” (mental

state or emotion). “Ra” from “raga” (musical mode) and “Ta” from “tala” (time measure).

Traditionally it was the proud privilege of the dancing girl “Devadasi” (servant of God)

to practice this glorious art. The roots of this system can be traced all over the country but the

system appears to be of a special significance in the South.

These devadaasis were servants of God but they were also great scholars, great experts of

their art and despite adverse conditions, it is they and their great spirit which have perpetuated

this art.

Bharata Natyam is designed as a votive offering to be placed at the feet of the Lord. As

such it must be remembered that most of the dance items are either religio-philosophical in

nature or are in the form of straight forward bhakti lyrics in praise of the glory of the Lord. But it

also has items which are secular in nature. It is intended as a solo presentation but may have

more than one dancer occasionally.

Technically Bharata Natyam has a judicious blend of both nritta and nritya. The Bharata

Natyam technique lays a great stress on the very correct and well defined lines that the entire

body specially the torso and the arms have to maintain. The erect and upright position of the

torso, the elegant stance of the shoulders thrown back give it an angularity which is crisp, at the

same time attractive.

Nritya in Bharata natyam of course uses the Rasas specified by Bharata. For hastas (hand

gestures) it follows the Sanskrit text “Abhinayadarpana” by Nandikeshvara.

The musical mode is classical Carnatic with its elaborate tala system. The songs and

lyrics for the nritya items are, by and large, selected from the writings of the South Indian saint-

poets, the Tanjore quartet who created the present day repertoire and some contemporary poets.

The aaharya (costumes) is usually uniform since it is a solo dance. No matter what sort

of a character the solo dancer is portraying there is no change in the costume. By and large the

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costume worn today is stitched. The jewellery is that worn by the Tamil brides – appropriate for

the bride of God, the devadasi.

Leading exponents Dr. Padma Subramaniam, Smt. Chitra Vishveshvaran, Smt. Alarmelu Valli,

Smt. Malavika Sarukkai, Smt. Leela Samson, Smt. Shanta and Shri. Dhananjayan.

MOHINI ATTAM

Mohini Attam of Kerala a lyrical and enchanting dance form, became the sole vehicle for

feminine interpretation developed on the lines of the other classical dance styles of India. It is a

solo dance of sheer visual beauty, far removed from the ever-vigilant supervision of the temple

and the grip of rituals. Devotional fervour is permissible but not mandatory. Religio-

philosophical tenets are not allowed to interfere with the central idea of dance-its soul-

enchantment. The very name expresses its aesthetics (Maha Vishnu appeared as Mohini the

enchantress, and danced the dance of enchantment to cast a spell of his maya on the danavas).

the natural beauty of the Kerala landscape provides ample inspiration for its lyrical and lilting

movements. Its rounded body kinetics, the distinctive heave of the torso and the soft walk create

the sensation of the verdant paddy fields, the undulating palm fronds and the rippling backwaters

of Kerala.

Some scholars trace Mohini Attam to the second or the third century A.D. (to the era of

the great Tamil epic, Shilappadikaram), whereas others maintain that it was created in the middle

of the eighteenth century in the court of Maharaja Svati Tirunal of Travancore at his behest.

Neither premise is correct.

All the dance forms of India are the end products of a long process of evolution, change

and improvement in keeping with the constantly changing social structure. Since dance and

music were two very highly developed arts in the Shilappadikaram era, we may surmise that

Mohini Attam has its roots in the dance form which was practiced in Kerala during that period.

Literary evidence shows that it was very much in vogue in the beginning of the seventeenth

century A.D. and thus must have had its origins before that. It is between 400 to 500 years old.

Mohini Attam is the dance that reflects the enchantment that is life, its enjoyment and

relish that creates the state of Beautitude. By its virtue it casts a spell of maayaa, a mesh net of

illusion, on the beholder bathing him in the raaga of enchantment leading him towards

knowledge along the path of enchantment, and beauty.

In the past two decades Mohini Attam has been cast into a new repertoire rooted in the

rich Kerala theatrical tradition. Also an extensive use of Sopana Sangitam is being made for the

musical arrangement. Sopana Sangitam is a style of singing which is indigenous to Kerala; it

has some exclusive raagas not to be found in other systems, but by and large the Carnatic raagas

are adapted to the Sopana mode of singing.

Leading exponents : Dr. Kanak Rele, Smt. Bharati Shivaji, Smt. Kshemavathy, Smt.

Dipti Bhalla, Smt. Leelamma.

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KATHAKALI

Kathakali is the story dance from the southern state of Kerala. Kathakali literally means

“Katha” story and “Kali” means a dance or a performance. It is a composite art where different

actor-dancers take different roles. The stories are usually from the Indian epics Ramayana and

Mahabharata. Kathakali is a very majestic art and when you see the costumes you realize how

much thought and how much aesthetic values have gone into the making of this art. The entire

idea is of ‘total theatre’ where there are acting, music – both vocal and instrumental and also the

colour psychology and costumes playing equal roles. A performance starts by lighting of the

ceremonial lamp. It has just two wicks – one wick is towards the audience and the other towards

the stage. It signifies that the light of knowledge must spread not only to the actors but also to the

audience. And what is the message? The message is very simple. It is “the victory of good over

evil”. Kathakali can be described as the “theatre of imagination” where demons and good beings

clash in the realm of imagination, where the good beings are eventually victorious.

Kathakali make-up is the most complicated and the most colourful of all the make-up in

the Indian classical dance styles. The make-up is called vesham and it follows the colour-

psychology.

The characters are divided into certain broadbased groups. The uttama characters that is

the lofty characters, the madhyama characters that is the middling characters and the adhama

characters that is the lowly characters. And each sort of character has its own colour

combinations as follows :

For instance when there is a green base applied on the face which is called the pachha

make-up, it is meant for the good or high sort of characters. The middling characters have a

knife-like pattern katti painted on the cheek. The lowly of characters, the thorough going rascals

are called the beard or taadi veshams and they have red and black colours predominating. The

cheek is outlined by a white outline which is called chutti and which is made up of the strips of

cloth which are bound together by a paste made up of rice flour and lime.

Historically Kathakali is the end product of a long line of theatrical practices. The germs

of Kathakali are to be found in the Kutiyaattam the Sanskrit drama which has been the preserve

of the Chakkyar Brahmin community for almost 2000 years. There are reference to be found in

the Southern epic Shilappadikaram which describes a dance that Chaakkyaar presented in the

honour of the victorius king. The present form of Kutiyattam was finalized in 1000 A.D.

Together with the Chaakkyaar’s art flourished Nangyar Kuttu performed by women. In the 16th

century we come to the next phase in the development in the Krishnaatam which presents the

Krishna cycle in eight days.Later in the 17th

century developed the Raamanaattam which

presents the Rama cycle. It is Raamanaattam, which is no more practiced, which resulted in

Kathakali.

Leading exponents : Shri. Kalamandalam Ramankutty Nair, Kalamandalam Gopi,

Nelliode Vasudevan Namboodiri.

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MANIPURI

Manipuri is from the north-eastern state of Manipur. Manipur literally means “the city of

jewels”. It is indeed a jewel. Surrounded by very beautiful hills and verdant fields this lovely

state has given forth one of the jewels of Indian culture and that is Manipuri dancing. Dancing is

a way of life with the people of Manipur. The people are deeply religious so no worship, no

poojaa is possible unless it is accompanied by song and dance. As such every inhabitant knows

how to dance and sing and many of them also play various instruments. The present Manipuri

repertoire or the form was created sometime in the end of 17th

century and beginning of 18th

in

the reign of Maharaja Shri. Bhagyachandra. The present dance style, the classical part of it, has

two major streams. One is the sankeertana which is the devotional aspect and the other is raasa.

The people who are by and large Vaishnavite in their faith have deep religious fervour towards

Krishna and as such the different raasas that Lord Krishna is supposed to have performed with

the gopis of Gokul on the banks of river Yamuna predominate in the presentation. The gorgeous

colourful costumes enhance the aesthetic beauty of the dance style which has both tandava and

lasya very well defined. The tandava aspect is presented in various drum dances Pung-cholom

and dances with cymbals in the hands Karalala cholom. The laasya aspect is presented by the

ethereally beautiful and delicate movements representing the gopis and Radha.

The early pre-Hindu dances of Manipur were of an animistic nature; then came dances

offered as worship to Shiva and Parvati in their native avataaras and then came vaishnavism

which put in deep roots and is the chief religion of the state.

The present Manipuri repertoire has three major streams.

i) Sankeertana which is deeply religious and ritualistic in nature.

ii) Raasas performed by Krishna and gopis.

iii) Lai Haraoba which is the oldest traditional stylized dance.

There are three types of Rasas – Kunja Rasa, Vasanta Rasa and Maha Rasa. Kunja Rasa

describes the meeting of Radha and Krishna with the help of the sakhis in a kunja or arbour.

Vasanta Rasa describes the divine play of raasa by Krishna and the gopis and the

resultant jealousy of Radha and their eventual reconciliation. This dance is usually performed at

the time of spring and ends with movements representing throwing and splattering of colour by

Krishna and Radha which is reminiscent of the Holi festival.

Mahaa Raasa captures the spirit of the divine raasa danced in a circle by Krishna and the

gopis.

The Sankeertana is presented by the two types of choloms the Pung Cholom and

Kartaala Cholom.

Manipuri is characterised by its fluid movements. Each movement appears to flow into

the next one. It also has extremely graceful movements of the wrists and palms. Though having a

wide variety of taala patterns; unlike other Clasical dances, Manipuri does not employ heavy and

harsh pounding of the feet. The footwork is executed predominantly on toes lending the dance

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its renowned ethereal quality. The female dancers appear as if they are almost gliding in the air.

Drum dances form an integral part of this dance style. Almost every dancer knows how to play

on the Pung and most male dancers perform the Pung cholom. Pung cholom literally means the

drum dance. Here the dancer dances with the pung which is Manipuri percussion instrument. It is

perhaps the most beautiful manifestation of the abstract concept of taala being presented in a

concrete form. The dancer dances and accompanies himself with the drum.

Leading exponents : Guru Singhajeet Singh, Jhaveri Sisters, Preeti Patel.

ODISSI

A 7th

century A.D text Vishnudharmottara Purana says, “vinaatu nrityashaastrena

chitrasootram sudurvidam”. The sage propounding this text says that without the knowledge of

dancing the other plastic arts cannot be comprehended. This very clearly shows the co-

relationship of sculpture and dance. It is said that dance is mobile sculpture and sculpture is

frozen dance. In this context the classical dance style Odissi from Orissa is a shining example.

Odissi is redolent with sculpturesque poses which are reminiscent of the glorious stone sculpture

of Konark and other temples. Odissi is characterised by simplicity of grace. Odissi is believed to

have originated in the 10th

century A.D. but got a tremendous fillip in the 12th

century when Poet

Jayadeva, who was a great devotee of Lord Jagannatha at the Puri temple, wrote his immortal

love song Geetagovinda. It is said that he wrote it specifically for being interpreted in dance and

music and his wife Padmavati who was herself a devadaasi danced it in the temples of Orissa.

These devadasis in Orissa are called Mahaari. There is another wing of this dance which is

danced by nubile young boys called Gotipua and these are the boys who indulge in more

acrobatic dancing. Odissi, if one has to describe its characteristic, believes in the exposition of

beauty, its sculpturesque poses and the lovely tribhangi, that is the triple bend in the body-

always reminds us of the beauty of Indian art in general.

As we come down the centuries we find unbroken chain of the twin traditions of the

singing of the Geetagovinda as a daily ritual of the Jagannatha temple and the Mahaaris dancing

at fixed times as part of the temple rituals. By the 15th

century A.D. Vaishnavism as a religious

sect became the main religion of the people of Orissa and the Bhakti cult received a great

impetus.

Technically Odissi is a highly stylised dance combining the precepts of Natyashastra,

Abhinayadarpana and Abhinayachandrikaa

Both nritta as well as nritya wise Odissi has a thoroughly systematized and exhaustive

technique. The most prominent feature of the technique being the various bends – bhangis – of

the body, the tribhanga aspect – or the triple bend in the body of the Indian sculpture and

iconography being fully exploited in Odissi.

The steps progress from the basic simple stamping of the foot accompanied by the neck,

waist and hip-bend. Sometimes the chest moves diagonically enhancing the sculpturesque effect.

Odissi being closeset to sculpture, utilizes the principles of image making like the sootra, maana

etc. Odissi movements combine in them crispness as well as lilt. The positioning of the arms and

hands is in the square. The movements usually follow the direction and cadence of the sides and

the kati and balance the entire structuring of the dancing body.

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Leading exponents : Smt. Sonal Mansingh, Smt. Kumkum Mohanty, Smt. Madhavi

Mudgal, Smt. Kiran Sehgal.

KUCHIPUDI

Kuchipudi is a dance style from the southern state of Andhra Pradesh. It can be rightly

called a dance drama. Kuchipudi, in effect, is the concept of total theatre where there is the

combination of all the four abhinayas like vaachika – spoken words, aangika – physical

movements, saattvika - that which has to do with the sentiments human emotions and aaharya –

the costuming.

Kuchipudi is a small little village in the Krishna district of Andhra Pradesh. And the

dance style or dance drama is traditionally practiced by very high caste Brahmins. It is believed

that it was created in the 15th

century A.D. and later the saint Siddhendra Yogi added a lot of vim

and vigour into the dancing. The most characteristic feature of this dance style is its scintillating

and very vivacious footwork and body movements. It has a lot of conquettery in it because it has

to do a lot with the feminine aspect.

The basic purpose of Kuchipudi is extollation of the virtues and great deeds of Lord

Vishnu and it follows the Bhaagavatam. In Kuchipudi traditionally no woman is allowed to take

part and the female roles are enacted by nubile Brahmin boys. It is also a composite art in the

sense that different actors enact different roles but no art can be static. In the past three or four

decades solo items have been created and are being performed.

In the development of Kuchipudi two yogis appear to have played a key role. These are

Tirtha Narayana Yati and his disciple Siddhendra Yogi. Both of them were devout bhaktas of

Shri. Krishna. Their great love manifested into outpouring of exquisite bhakti literature. Tirtha

Narayana wrote the Krishna Leelaa Tarangini in the form of a musical opera. The disciple

Siddhendra Yogi wrote the famous shringaara kaavya Paarijaatapaharana. While presenting

this in the form of dance-drama he shunned the devadasis and, instead, selected nubile Brahmin

boys to enact the roles. This dance drama is performed even today and stands as a masterpiece in

this genre.

The technique of Kuchipudi exhibits a fine balance between nritta, nritta and naatya

elements, the last preponderating in the vaachika abhinaya. Thus the Kuchipudi actor/dancer not

only sings his pieces and dances them but also himself speaks the dialogues.

Two very characteristic facets of Kuchipudi performance are the character of the

Sutradhaara (conductor) of the performance and the praveshadaru which is a small composition

of dance and song whereby each character announces himself/herself and reveals his or her

identity in the most skillfull manner.

Another special feature of the presentation is pagati veshamu which is a comic sequence

in a play but which is not from the original text. This is added to relieve the seriousness of some

of the original sequences and are acted out impromptu.

Leading exponents: Shri. Vedantam Satyanarayana Sarma, Smt. Yamini Krishnamurthy,

Smt. Shobha Naidu, Smt. Swapnasundari, Smt. Radha and Shri. Raja Reddy.

KATHAK

Kathak, the classical dance style from north India conjures up visions of scintillating

footwork and lightning chakkars (pirouettes). The word Kathak is derived from the word Katha,

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that is story. In ancient times the wandering bards used to go from village to village and recite

chiefly the two epics- the Ramayana and Mahabharata. In order to make their art more attractive

they started adding song and dance into it.

Sometimes during the muslim invasion the Persian influence came into the art brought in

by the dancing girls who were called tawaayafs and thus a very spiritual dance slowly started

turning into a court presentation. Today what we see in Kathak is a blend of these two streams. It

has the courtly atmosphere at the same time it is highly spiritual.

With the advent of the Muslim rulers, from temple dance Kathak turned into a concert

dance. This resulted in two different streams developing – one relying on the Hindu patronage in

the court of Jaipur and the other with the backing of the Muslim,courts of Delhi, Agra and

Lucknow. Yet in both these streams Kathak came to be treated as a solo art where the touch

stone of excellence was the virtuosity of the solo dancers, specially his command over laykaari

or footwork.

Specially in the Jaipur-stream the emphasis almost totally shifted on nritta making the

style a vehicle for forceful mechanical display. While the Muslim patrons had no overpowering

preference for mere rhythmical pyrotechnique; they fancied an art that was full of human

sentiments and worldly situations. Thus their brand of Kathak laid stress on nritya full of bhava.

Thus this Kathak turned out to be more graceful and sensuous. This stream came to be

recognized as the Lucknow Gharana and it came into existence in the time of Wajid Ali Shah of

Oudh - The chief architect was one Thakur Prasad whose two sons Kalka and Binda Din

perfected it.

It is Wajid Ali Shah’s contribution to the development of Kathak which is noteworthy.

He was an accomplished dancer and musician and a good poet in Hindi and Urdu. He spent

lavishly on dance and music, much to the disgust of the British of the East India Company, who

dethroned him and exiled him to Calcutta and annexed his principality Oudh. Till his death he

lavished his pension on Kathak and music.

A noteworthy facet of the Kathak nritta is the chakkar or the pirouette or spin which is

performed at a lightning speed and which and in a superbly balanced flourish and pose.

Leading exponents : Pandit Birju Majaraj, Smt. Kumudini Lakhia, Shri. Rajendra

Gangani, Smt. Uma Sharma Smt. Prerana Shrimali, Smt. Shasvati Sen.

Conclusion

The study of the origin and development of various forms of Indian classical dance, the

important constituents of performing arts, enable us to understand the artistic achievemnts of

people since ancient times. The evolution of different forms is linked to the socio-economic and

religious changes in different regions of the subcontinent.

Long Questions:

1. Give an account of the Classical Indian Dance forms with reference to either Bharata

Natyam or Manipuri.

2. Do you subscribe to the view that Bharta’s Natyashastra was a workman’s manual for

drama, dance and music?

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Suggested Readings:

1. Kapila Vatsyayan, Indian Classical Dance, Publication Division, New Delhi, 1974.

2. Enakshi Bhavani, Dance in India, D.B. Taraporewala & Co., Bombay, 1965.

3. M.Bose, Classical Indian Dancing, General Printers, Calcutta, 1970.

4. Ragini Devi, Dances of India, Calcutta, 1962.

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LESSON 4D

THEATRE CULTURE IN INDIA T.K. Venkatasubramanian

Department of History

Delhi University

Introduction

Rabindranath Tagore once said that a nation’s culture is judged by the standard of its

theatre. The great Russian actor and producer, Stanislavsky, described the stage as an index of

the aesthetic taste of a nation. And in his characteristic way Bernard Shaw declared, “A national

theatre is worth having for the sake of the nation’s soul”. The literature of each language

abounds is plays which have never been produced and which may not be worth producing, but

which may have poetical and other literary qualities to sustain them. But they do not belong to

the theatre. In the art of the theatre the written play is something like the script in the art of the

film.

It no doubt furnishes the basis, the framework, and the substance of the play as

produced. But there are other things besides the written play which go to make the final

performance. There are the actors and actresses, there is the producer, there are scenic

arrangements and lighting effects; costumes and make-up are equally important, and very

often there is music. The art of the theatre is a composite art, and a product of collaboration

between artists and technicians.

The Classical Theatre

Ancient Hindus had a very high conception of the art of the theatre. The art of drama

which included dance – was fashioned out of the four Vedas (Natyashastra). The words were

taken from the Rigveda, the abhinaya or visual representation was taken from the Yajurveda, the

music from the Samaveda and the rasa from the Atharvaveda. The art is extolled as capable of

securing the four-fold objectives of life, of increasing one’s fame, promoting self-confidence,

and increasing one’s skill in handling men and things. It is described as an art which helps the

growth of generosity, firmness, courage and grace. It will drive away pain, sorrow, despair and

mental affliction. The following characteristics of a drama as narrated by Brahma, according to

the introductory chapter of Bharata’s Natyashastra, demonstrate the highly developed and

comprehensive conception of drama which the ancient Hindus had:

“The drama is a representation of the state of the three worlds. In it sometimes there is

reference to duty, sometimes to fame, sometimes to peace, and sometimes laughter is found in it,

sometimes fight, sometimes lovemaking, and sometimes killing. This teaches duty to those bent

on doing their duty, love to those who are eager for its fulfillment, and it chastises those who are

ill-bred or unruly, promotes self-restraint in those who are not disciplined, gives courage to

cowards, energy to heroic persons, enlightens men of poor intellect and gives wisdom to the

learned... The drama, as I have devised, is a mimicry of actions and conducts of people, which is

rich in various emotions, and which depicts different situations. This will relate to actions of

men, good, bad and indifferent, and will give courage, amusement and happiness, as well as

counsel to them all. The drama will thus be instructive to all, through actions and states depicted

in it, and sometimes arising out of it. It will also give relief to unlucky persons who are afflicted

with sorrow and grief of overwork, and will be conducive to observance of duty as well as to

fame, long life, intellect and general good, and will educate people. There is no wise maxim, no

learning, no art or craft, no dance, no action that is not found in the drama. Hence I have devised

the drama in which meet all the departments of knowledge, different arts, and various actions.”

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While Greek Drama was growing in the 6th

century B.C. during the celebration for the

festival of Dionysius which was brought from Egypt, Indian drama had also developed; for,

dance, music, dialogue etc. are already in the Vedas and historians of Indian Drama have held

that Indian Drama had a native origin, a religious and ritual origin. In the 5th

century B.C.,

Panini speaks of two hand books of Aphorisms for actors (Natasutras). In the 4th

century

Maurya court the minister-poet Subandhu in his Vasavadattanatyadhara experimented a new

form of drama. The first proper Sanskrit drama grew out of the festival of Indra’s Banner and

was the initiation of acts of God, the triumph of Gods over demons. Out of this developed the

Heroic play (Nataka) depicting godly kings of the Epics. from this high epic theme, the play

had, by the 5th

and 4th

centuries B.C., come to historical kings like the romantic Udayana.

Bhasa was a great pre-Kalidasa dramatist. He handled with consummate skill themes of

love and separation, interlinked them to political fortunes and schemes and even produced a

number of one-act pieces. The ancient theatre in the distant past evolved a variety of forms. The

theatre reflected the social milieu of Courtesan, clown etc. and portrayed allegorical characters

like faith, fortitude and knowledge. While the Heroic play held before the people the ideal of the

noble kings of the Epics and Myths, the social play (Prakarana) in one or two acts presented the

pretensions of the higher rungs of the society and the vice of the lower sections. Bharata’s

Natyashastra (2nd

century B.C. – 2nd

century A.D.) gives a full and rich picture of the classical

theatre, the ten types of play, three kinds of play-house, the variety of the play, its sentiments and

aesthetics, speaking, acting, make-up, production, qualities of spectators, music etc. The

Natyashastra is the most elaborate treatise of the ancient world on Drama.

The contributions of the great trio, Kalidasa, Sudraka and Bhavabhuti to the classical

theatre is well known. Visakadatta is another noteworthy name in this context. He had the

genius to harness and exploit politics. King Harsha wrote Nagananda. Rajasekara wrote

Karpuramanjari in pure Prakrit. In the 9th

and 10th

centuries, a number of irregular and shorter

forms grew. About fifteen varieties of these, referred to as uparupakas (minor theoretical forms)

are described in works of dramaturgy, attesting the freedom, imagination and experimentations.

Even if most of the themes of the classical plays and some of the forms of classical drama

may not command today the appeal they once had, the classical conception of dramatic art, its

technique of presentation of mood and character in the play and of producing it on stage, will not

fail to attract the thoughtful playwrights, producers and critics today because of their intrinsic

value and essential aesthetic quality. Bharata described Drama as both drishya and sravya; to be

seen and heard.

The Sanskrit drama opens with a prologue in which the manager and a compassion

converse and introduce the poet and the play. The theme is organised in acts called ankas, ranging

from four to ten. There may be a change of scene within the act, but no scenic divisions within an

act are indicated. The acts contain a continuous action not exceeding the duration of a day. The

acts may have an introductory scene with higher or lower characters, the purpose of this being to

give the link or continuity in the story and to enlighten the audience by narration, report or

dialogue; about events which could not be shown on the stage in the course of main acts. No

character can enter without having been indicated already. The text of the play is in mixed prose

and verse style, the verse appearing wherever there is need for a striking expression or heightened

effect. Like the mixture of prose and verse, there is also a mixture of the learned and popular

tongues, the higher strata and the educated male characters speaking Sanskrit and the lower classes

and the ladies, barring courtesans, speaking Prakrit, sometimes of different kinds; according to the

number and nature of the lower characters. The action may be of short duration or one spread over

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years, and, similarly played in specific place or spread over different places. The theme may be

taken from well-known epics or invented or mixed; even when the story is well known, the

dramatist could make innovations to suit his dramatic idea and purpose, for what the Sanskrit

drama endeavours to present is a harmonious character and harmonious emotional impression in

the spectator’s hearts. The drama should have a happy ending.

The older and major forms of drama (Rupaka), took into its fold later and lesser forms,

the uparupakas, different kinds of dance-drama. These uparupakas passed on the art to regional

dance-dramas in Sanskrit-cum-local language and in pure local languages. Ankia Naats, Yatras,

Yakshaganas, Bhagavata Naatakas, Krishnattam, and Kathakali. These uparupakas preserved

the tradition and genius of indigenous theatre, and supplied the materials, methods and means for

all pioneers in modern times to revive and re-create an Indian theatre in authentic style, in

contrast to the other modern stage which had hitched itself to a distant star in an alien sky and

had since been spending its energies mainly in trying to catch up with trends and models abroad.

Ancient South Indian Theatre

An account of the ancient South Indian theatre is available in the Arangerru Kaadai of

Silappathikaram and the learned commentary of Atiyarku-Nallar while there are about a dozen

lines in the epic, the commentary runs to over 20 pages. Several other works like Agathyam,

Bharatam, Muruval, Jayantham, Guna Nul, Seyirrium and Kuttu Nul were available. It is

obvious that there must have been a large body of ancient dramatic works in Tamil to have

necessitated so many treatises on the grammar of drama. Indeed the classical division into Iyal,

Isai and Natakam shows that the Tamil drama had an independent position.

In ancient Tamilnadu, Natakam was a sub-division of Kuttu or dance. The institution of

dance was purified and brought under two main divisions Shanti Kuttu (intended for the

enlightened section of the community) and Vinodakuttu (for backward sections). Shantikuttu

embraced among others Abhinayam and Natakam (For example Kathakali). Silappathikaram

counted among the artistes qualifications not only beauty of form and proficiency in music and

dancing, but also birth in a good family. However, early Tamil works show that dancing girls

and prostitution were recognized as a necessary social institution of Marutham (the land of

paddy fields, wealth and luxury). Among the various classes of Vinodakuttu may be mentioned

Kuravai, Tholpavai, Vidushaka Kuttu and Veriyaattu. Various forms of acting and drama in

Tamilnadu and Kerala have to be understood against the background discussed above.

The dramatic representations can be divided into three classes: (1) Indigenous (Kuttu,

aattam etc.) including those acted in temples and those acted in public places other than temples.

(2) Imported (Yatras) (3) Devil dances and propitiatory dances such as the fire-dance, Bhadrakali

dance etc.

Yatras are prevalent only among Brahmans, and the actors should be only Brahmans.

The performance was sacred and took place in the temple. The representation seems to have

been imported. The actors are called Bharatas and the play in sometimes called Bharatanatyam.

It is also called Sakkiyar Kuttu (Sakkiyar is a Malayalam Corruption of the Sanskrit Slagya =

“celebrated” “best”). Some people also perceive it as a corruption of Buddhist deriving it from

the Buddhist play Nagananda.

The Folk Stage

The decadence of Sanskrit drama was due by the 10th

century A.D. Sanskrit language

had ceased to be the language of the people. Over different regions it had developed into

different well-established dialects known as apabhramsas. Each apabhramsa dialect was soon to

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assume a form – to be known by the 15th

century in its trial form – as one of the modern Indo-

Aryan languages. This language of the people was still far from creating its own literature

though, in some first literature made its appearance by the 12th

century A.D. In contrast, the

South Indian languages, not derived from but only influenced by Sanskrit, had a literature of

their own by 9th

century A.D. Naturally between 9th

-16th

centuries there could not be written

dramas. Absence of written plays, however, should not mean absence of the theatre. Over

centuries and under the influence of the Natyashastra theatre artistes had developed into a

distinct caste called “charanas”. These charanas could be taken as the descendants of the Sutas

(bards of the epic days). They recited the traditional stories and received patronage from the

kings and nobles. This patronage added to their repertoire. In addition to the traditional heroic

poems, the bards would now sing the glories of their patrons and their ancestors. Royal

patronage gave a fillip to the rejuvenation of the Indian theatre (Lakshmana Sena of Bengal and

King of Jodhpur can be cited as examples).

The rise of the cult of devotion (Shaivism and Vaishnavism) influenced the theatre in two

ways. Firstly, it induced a number of kings in different parts of the country to build temples.

The increasing number of temples meant increasing number of ‘play-houses’ and a direct

encouragement to dance and drama. In many instances the dancers and Sutradharas were

assigned to these temples. It was their duty to arrange shows of dance and drama. Every

architectural work of the time has concerned itself with the dramatic arts by caring an entire

show in all its details. Often times, the king himself would be the composer (and even the

choreographer) of a dance-drama. The institution of Charanas had brought into existence

moving groups of performers and these groups could travel to different places and give their

offerings (in the form of shows) to the deity.

It was no longer in the medium which people could not understand but was enacted in the

vernacular. The Bhaktas (Saints) sang their songs conveying knowledge and experience to the

people directly and naturally. It is a historical fact that the beginnings of literature in most of the

Indian languages can be traced to the songs and sayings of these saints. The Bhakta could not

only sing but also dance in gay ecstasy. With increase in popularity, his dance and song led to

community-singing and community-dancing. He sang mostly about the life and deeds of God.

The epic Bhagavata, dealing with the life story of Krishna, provided most of the inspiration.

Between the Saint (the individual) and God, there was no longer any intermediary, which fact

often times, turned a song into a dialogue. For example in Jayadeva’s Gita-Govinda, we come

across a dialogue between Radha (the individual self) and Krishna (the universal God). The

folk-stage of India has to be understood against the background discussed so far.

Search for a New Theatre

It is interesting to note that the decline of the Mughal empire and the dawn of the modern

theatre took place almost simultaneously. Upto the 18th

century, the folk-literature was active

and growing, without a new Kalidasa or Bhavabuti. The learned were more and more developed

to evolving and establishing different schools of philosophy with the use of Sanskrit. In the

courts of kings, poets and writers were respected more for their knowledge of both Sanskrit and

the regional language. The upper strata of society were two busy with political affairs to be

interested in the arts. It was easier to find a Sayanacharya who wrote commentaries on the

Vedic collections than a Kalidasa even as late as Vijayanagar empire. The rise and popularity of

the folk theatre rejuvenated by the influence of Bhakti doctrine seem to have established the

theatre as a pastime only for the ‘lower’ people. Mitravinda-Govinda, in the Kannada written in

1896 by an army officer Singaraya is an example of the kind of plays that were available.

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Translations and adaptations of earlier plays were undertaken under the patronage of kings. In a

country like India no man had his existence in society except as a member of a caste. The British

conquest created two new castes, the superior untouchable (mlechcha) the conqueror, and the

newly educated Indians (another untouchable caste) who feared and flattered, hated and admired,

and obeyed and initiated the superior mlechhas’. Out of the conflict between these two groups

was born the modern Indian theatre.

The Bengal Theatre and Others

The British had settled in Bengal much earlier than in any other part of India. The newly-

educated class of Indians thus first came into existence in Bengal. For their entertainment the

Britishers depended on ‘home’ products. In respect of theatre, too, we can imagine them either

putting up English plays themselves or arranging for visiting groups from ‘home’. Against this

background we come across Herasim Lebedeff (Russian adventurer) and Mr. Goloknath Doss

translating and staging two comedies Disguise and Love is the best Doctor, on the 7th

of

November 1795. The next 50 years witnessed a great upsurge in the establishment of modern

theatre. The changed and changing outlook brought about by English education was responsible

for the establishment of the first Bengali theatre by Prasanna Kumar Tagore in 1831. Here

English plays were produced by Indians. English translation of Uttara-Rama-Charita was also

staged. When a new audience comes into existence the search for a new theatre was also set in

motion. Similar things were happening at Sanghi in Maharashtra. The performance of a

Dashavatara (Yakshagana) play was staged. One Vishnudas, in 1843 prepared a mythological

play called Sitasvayamvara. (see for details The Marathi Theatre 1843-1960, published by

popular Book Depot, Bombay, 1961). It is this performance which laid the foundation of

Marathi theatre which grew and by 1925 reached the pinnacle of its glory. The freedom of

speech for the clown and the make-up of the demons show the influence of Yakshagana. But the

signing of songs by different actors is a significant departure from tradition.

It is interesting to find an attempt to blend tradition and modernity. In Bengal, the

Lebedeff theatre had created a desire in the new audience for suitable plays. Shakespeare’s

Julius Caesar and Merchant of Venice were rendered in Bengali. English models provoked

nostalgic respect for the best in our own tradition. The first play giving expression to social

reform was Kulin-Kul-Sarbasva, written in 1854 by Ram Narayan Tarkaratna dealing with the

problem of polygamy. Under play Inder Sabha was staged in 1853. Parsi Natak Mandali was

founded in the same year. The Sepoy Muliny of 1857 inspired the Indian Theatre. Bnegal and

Maharashtra, the two regions where the spirit of revolt against East India Company was more

active, took the lead. In 1872 the National Theatre was built in Kolkata. Vishnu Das Bhave,

became active in Bombay. Vinayak Janardan Keertane wrote many plays on 1857 themes.

Dinabandhu Mitra wrote Nil-Darpan. These are indications that a class of dramatists were

coming into existence which considered that a play should hold the mirror to social conditions.

Between 1857 and 1870 not only were more plays written but also more and more performances

given (For example, Michael Madhusudhan Dutt).

The Professional Theatre

Bombay is a commercial centre, the Parsis a commercial community and the professional

theatre is a commercial venture. The Sangli production encouraged repeat of shows, to maintain

a group of actors and to go to cities like Poona and Bombay to stage plays. Vishnudas Bhave

rented a play-house in Bombay and collected money. His first Hindi play, Raja Gopichand

recorded a collection of Rs. 1800 in one night. The promise of good returns encouraged the

commercial venture.

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Within ten years there were almost a dozen groups in Maharashtra. They were yet to

become theatrical companies. With the construction of play-houses and with assured audiences

in cities, the situation changed. The performances came to be organised on a regular basis. Parsi

companies came into existence by 1850s. They visited South India also. Karnataka through up

the first professional group in 1877 at a place called Gadag. Sarasa Vinodhini Sabha and

Sumanorama Sabha came up in Bellary. The type of plays produced in South were

mythological. Professional theatre became achieve throughout India.

The Urban Theatre

It is commonly believed that the advent of Indian films was one of the main reasons for

the decline of drama. The conversion of play-houses into cinema houses, the desertion of stage-

actors for the films and play-wrights being attracted to writing film scripts are cited as the

reasons. With the new education, a new outlook was being formed. A large number of educated

Indians were enamoured by English plays. They studied them in their schools and colleges but

not the Sanskrit plays. But in the last two decades of 19th

century we find translations of

Shakespeare’s plays, Kalidasa, Bhavabuti, Harsha and Bhattanarayana. Social plays were also

written (For example, Sangit Sharada in Marathi). Rabindranath Tagore’s plays are classic

examples of urban theatre. Valmiki Pratibha (1881), Raktakarabi (1924), Mukta Dhara, Nalir

Puja and Taser Desh are the most important ones. It is obvious that Tagore was trying to evolve

the type of drama suited to its essential purpose. His poetical dramas recall the earlier traditional

form of Sanskrit plays. His symbolic dramas are a protest against what was current then in

initiation of Shakespeare’s plays. He has no stage-directions about the setting etc. because real

drama lies in the poetry of writing. Since his expression was more on the expression of the

meaning, he experimented with dance-dramas as well.

The first elements of realism were introduced in the 1920’s by Sisir Kumar Bhaduri,

Naresh Mitra, Ahindra Chowdhri and Durga Das Banerjee. Probha Devi and Kanakvati were

two able actresses. Sisir Kumar Bhaduri dominated the Bengali stage for half a century and he

took the art of acting to new heights. It was he more than anyone else who brought about the

transition from formal rhetorical acting to modern realistic acting on the Indian stage.

As a result of the political consciousness among the masses a ‘progressive’ or what is

called leftist tendency emerged in 1930’s. The idea of ‘progressivism’ influenced literature and

drama. To imperialism were added dictatorships like Fascism and Nazism. When the Second

World War began, some of the progressive writers were nationalists (in the sense they yearned

for India’s Freedom). They organised the IPTA. It included writers like Khwaja Ahmed Abbas

and Manmath Ray and it provided scope and encouragement to actor-producers like Sombhu

Mitra. It brought out new dramatists, new actors, new themes and an active theatre. Under the

leadership of Kamaladevi Chattopadhyaya, the Indian National Theatre (INT) came into

existence. This had a socialist thought from the left wing of the Indian National Congress. They

were also nationalists. Significantly the first production of the INT was a ballet based on

Nehru’s The Discovery of India. INT is an all India institution with its branches all over India.

Conclusion

Through poetry and drama man reveals himself to himself. He mirrors his soul, he

expresses the desires, the urges, the hopes, the dreams, the successes and the failures in his

struggle to make himself at home in the world. Kavya is of two kinds – Shravya and Drishya.

The latter is nataka or drama. The dramatist or the playwright delights us by the perfection of

his art, its variety, its music, and its mood. The dramatist shows us the heights and depths to

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which man can rise and fall, he induces in as sympathy for the good and hatred of the evil. He

affects our feelings directly and conveys ideas indirectly.

Long Questions: 1. Examine the theatre culture in ancient India.

2. Account for the institution of Chayanas and their contribution to folk-theatre.

3. Give an account of the professional or urban theatre with reference to either Bengal or

Maharashtra.

Suggested Readings:

1. Adya Rangacharya, The Indian Theatre, NBT, Delhi, 1971.

2. Hemendra Nath Das Gupta, The Indian Theatre, Gian Publishing House, Delhi, 1988.

3. M.L. Varadapande and Dr. Sunil Subhedar (eds.), The Critique of Indian Theatre, Unique

Publications, 1981.

4. Farely P. Richmond, Darius L. Swann, and Philip B. Zarilli (eds.), Indian Theatre

Traditions of Performance, Motilal Banarsidass, 1993.

5. Sangeet Natak, Vol. XXXVIII, Number 2, 2004.